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Library of Christian Hymns 


By 
JOHN DAHLE 
Professor of Hymnology and Liturgics 


Luther Theological Seminary 
St. Paul, Minnesota 


VOLUME ONE 


English Translation 
By 
REV. M. CASPER JOHNSHOY, B. D. 


Published by 
AUGSBURG PUBLISHING HOUSE 
MINNEAPOLIS, MINN. 


Copyright, 1924 
AUGSBURG PUBLISHING HOUSE 
Minneapolis, Minn. 


Printed 
n 
U.S A, 


Page 26, 
Page 59, 
Page 151, 
Page 157. 
Page 166, 
Page 184, 
Page 268, 
Page 270, 
Page 286, 
Page 316, 


Page 320, 


ERRATA 


line 11, read: “Valet will ich dir geben.” 

line 12, read: or “Redhead,” No. 76. 

line 12, read: five—part. 

Omit entire section from line 13 to page 158, line 5. 
line 26, read: No. 15. 

line 30, read: Purleigh. 

line 11, omit: St. Bernard of Clairvaux. 

line 2, read: Pothier. 

line 3, omit entire line. 


lines 10-12. The parenthetical clause should read: 
“Den signede dag er os nu ted,” Landstad 139. 


line 20, read: Faithful Tate. 


Certain data pertaining to No. 42, No. 125, and 
No. 161 will be supplied in Vol. II. 





TRANSLATOR’S PREFACE 


The present volume begins a series of books con- 
taining the history of the hymns used by the Lu- 
theran Churches of America. In writing this his- 
tory, Professor John Dahle, the leading hymnolo- 
gist in the Norwegian Lutheran Church of America, 
has followed the order of hymns as found in “The 
Lutheran Hymnary” of our Church. Among these 
will be found a large number of hymns which are 
in common use among all Christians. Hence, “The 
Library of Christian Hymns’ will, it is to be hoped, 
commend itself to all sincere worshipers who have 
learned to love the hymns of the Church. 

The plan of the work should be noted. This 
first volume covers a comparatively small number 
of hymns, for the reason that, within the first 200 
hymns in our hymnary, we are introduced to the 
greater number of the major hymn writers. Here 
the more extensive biographical] sketches are in or- 
der. In the succeeding volumes, wherever a hymn 
occurs whose author has already been discussed, ref- 
erence will be made to the page and volume where 
the biography is to be found. Over one third of the 
second volume has already been set up in type. 

It is our hope and prayer that these volumes may 
be welcomed by many; that they may serve to arouse 
new and added interest in hymn singing, and that 
our people may come to realize more and more what 
great spiritual values are stored up for us in our 
treasury of Church Hymns. 

M. CASPER JOHNSHOY. 

January, 1924. 

Starbuck, Minnesota. 





1 


Thee God we praise, Thy name we bless. 
O store Gud, vi love dig.—Landst. 10. 
Herr Gott, dich loben wir. 


Te Deum laudamus. Hymnus in honorem sanctae 
trinitatis. 


RADITION has it that this world-famous 

hymn has come to us from the Greek church of 
the third century. It is thought that Bishop Am- 
brose of Milan (d. 397) translated it into Latin. 
In this language it gained its widest circulation. 
The Ambrosian Hymn of Praise, as it has been 
called, has been sung by the Church for fifteen cen- 
turies. From the close of the fifth century it was 
used in the Roman church at the morning worship 
immediately before the reading of the Gospel. It 
was used during the ancient period at all great 
church festivities, as, for instance, at the installa- 
tion of the popes, the coronation of kings, and the 
like. 

The hymn contains, in the first place, a strain 
praising the Triune God, the Father, Son, and Holy 
Ghost, and closes with an humble prayer for the 
help and grace of God. The German version, 
“Herr Gott, dich loben wir,’’ was made by Luther 
presumably in the year 1529, and is found listed 
as an antiphonal anthem for two choirs. In Witten- 
berg, we are told, the organ paused at the close of 
the first division of the hymn and the church bells 
chimed, while the choirs sang: ‘‘O holy, holy, holy 


6 


emerge: AP A RIESE SE TST ST Se ae 


Lord, Thou God of hosts, by all adored.” In the 
Church of England it is ordered that this hymn shall 
be used at the daily morning prayer thruout the 
year. There are a great number of English trans- 
lations of the Latin original. These date from the 
10th century down to the present time. There are 
also a number of English translations of Luther’s 
German version of 1529. 

According to an old custom the “Te Deum” in 
Latin is sung at dawn of May-day from the tower 
of the administration building of Magdalen Col- 
lege at Oxford. 

This hymn enjoys the same popularity today as 
during the ancient period. It is used thruout the 
Christian Church on days of special thanksgiving 
and commemoration, as well as at regular services. 
Landstad says: ‘‘No hymn shows clearer and in a 
more comforting way how the Church, despite sep- 
aration and schism, yet may meet and unite in this 
hymn of praise, as well as confession, of the ‘Triune 
God and His great work of mercy in Creation, Re- 
demption, and Sanctification. The prestige and 
universal use of this hymn is not due to any in- 
trinsic poetic qualities in the ordinary sense of the 
term, but rather to the fact that it breathes forth 
lofty, divine truths; the clear and powerful testi- 
mony of the faith of the holy Christian Church 
from the earliest times and thruout all generations. 
It has therefore been considered more as a univer- 
sal confession of faith than as an ordinary hymn.”. 

A great deal has been written about this hymn, 
concerning its origin, author, translations, and 
translators; concerning its use; the many composers 
who have set it to music, etc., etc. If it all were 
compiled, this material alone would fill many vol- 


7 
umes. Many and varied opinions have been ad- 
vanced during the centuries concerning the author- 
ship of the hymn. In many breviaries, for instance, 
it is referred to in connection with Ambrose and 
Augustine: Canticum Ambrosi et Augustini. An 
old legend says that the hymn was written during 
the Easter night when Ambrose baptized Augustine 
in the cathedral of Milan. By divine inspiration, it 
is claimed, Ambrose sang the first part and Augus- 
tine continued the hymn. In this manner the hymn 
is referred to Ambrose, who is the oldest and most 
famous of the Latin hymn writers. As time went on 
it became customary to call all true metrical hymns 
Ambrosian hymns. Thus have been credited to Am- 
brose many hymns which he has not written. It 
seems certain that Ambrose has neither written nor 
translated this hymn. Modern scientific research 
asserts that ““Te Deum” was originally not a Greek 
but a Latin hymn. Altho the hymn is found in 
Greek, still it cannot be demonstrated that it was 
in use in the Oriental church. Modern hymnologists 
and historians claim that Niceta of Remesiana was” 
the author of ‘“Te Deum laudamus,” about 410.¥ 
Several manuscripts mention Nicetus or Nicetius. 
An old Latin hymnary lists the hymn as Canticum 
beati Niceti and expressly mentions Niceta of Re- 
mesiana as the author. Niceta, bishop of Dacia, 
392-414, is praised by his friend Paulinus of Nola 
for his learning and poetic ability. Niceta visited 
Paulinus about 398 or 402. Cassiodorus, also, men- 
tions Niceta with much praise and recognition. 

The oldest Danish version of ‘“Te Deum”’ dates 
from the 13th or the 14th century. This, however, 
was not well adapted for use in the church. A ver- 
sion specially designed for the public worship is 


8 





found in the collection, Een ny handbog, Rostock, 
1529, by an unknown author. According to the cus- 
tom of the ancient church, it was ordered to be used 
at matins. The translation in Landstad’s Hymnbook 
is by Landstad from Luther’s German version. ‘The 
English version in The Lutheran Hymnary is by the 
Rev. Carl Dgving, 1911. 

In England the melody used for this hymn has 
been called “Old Hundredth,”’ because it was used 
first as a setting for the 100th Psalm. This was.a 
metrical adaptation by William Kethe, ‘‘All people 
that on earth do dwell,” 1561. ‘This melody was 
first published in Clemens Marot’s and Theodore 
Beza’s French Psalter, where it appeared in 1551 
as the melody for Beza’s version of the 134th 
Psalm. The melody was probably composed by 
Louis Bourgeois, who furnished the melodies for the 
French Psalter. It appeared in this book in a four- 
part arrangement by Bourgeois with the melody in 
the tenor, as was then the custom. 

Many world-famous masters have composed mu- 
sic for ‘“Te Deum laudamus.” Among them may 
be mentioned Palestrina, Cherubini, Graun, Purcell, 
Handel, ‘Tallis, Croft, Dvorak. Several ancient mel- 
odies have, however, come down with the hymn 
from the earliest period. | 


ne 
All glory be to God on high. 
Alene Gud i Himmerig.—Landst. 11. 
Gloria in excelcis. 
ApHE song of the angels: ‘Glory be to God in 


the highest, peace on earth, good-will toward 
men” (Luke 2:14), was used for the public wor- 


9 


ship at an early date. It is found in the Liturgy of 
St. James of the 2nd century. The earliest enlarged 
Greek version is found in Codex Alexandrinus, 
where it has been placed immediately after the 
Psalms and the Song of Solomon. ‘This. manuscript 
dates from the close of the 5th century. The oldest 
Latin version of this hymn is found in a manuscript 
dating from the 8th century and which is now kept 
in the British Museum. The same text is also found 
in Missale Romanum. Bishop Skaar and likewise 
H. Nutzhorn hold that the enlarged Greek version 
dates from the 2nd century, while the Latin transla- 
tion was prepared by Bishop Hilarius of Poitiers 
(d. 368). Translations into German, English, 
Danish, and other languages were partly rendered 
in prose, later on they appear in metrical adapta- 
tions. The German metrical version, ‘‘Allein Gott 
in der hohe sey Ehr,”’ is composed of four verses 
of seven lines each and was prepared by Nicolaus 
Decius. ‘The first edition of this version appeared 
in Low-German in Eyn ganz schéne unde nutte Ge- 
sangh Bock, 1526, and was re-edited in High-Ger- 
man in V, Schumann’s Geistliche Lieder, 1539: ‘‘Al- 
lein Gott in der Hohe sei Ehr.” 

A Danish translation of the Latin prose text was 
made in 1528. At the same time there appeared 
two metrical versions, both of which were included 
in Een ny handbog, Rostock, 1529. One of these 
has four stanzas and is a translation of Decius’ 
Latin version. According to Nutzhorn the other 
is written by the pastor, Arvid Pedersgn, who 
studied in Wittenberg, 1524, and the following 
year. Later he was appointed dean of Bornholm. 
His translation contains five stanzas. Between the 


10 





third and fourth there appears a new stanza, to 
which there is no corresponding part in the German 
original. Therefore it is thought that Arvid Pe- 
dersén composed this additional stanza. ‘This ver- 
sion has been included in the greater number of later 
hymnaries. The English translation of Decius’ 
hymn is by Miss Winkworth. ‘There are at least 
13 other English translations extant. The melody 
was first published in the above mentioned edition 
of Geistliche Lieder, by V. Schumann, Leipzig, 
1539, but it is claimed to be much older. It is very 
probable that Decius himself composed the melody. 
He is referred to both as an eminent performer 
upon the harp, and as a composer. 

Nicholas Decius (Hovesch, von Hofe, or Tech) 
was born in the village of Hofe in the southwestern 
part of Saxony. The year of his birth is not known. 
He became a monk and was appointed abbot of the 
cloister of Stetersburg, near Wolfenbittel. Being 
attracted by the Lutheran teaching, he gave up his 
ofice of abbot and, upon the invitation of Gott- 
schalk Crusius, came to Brunswick in 1521. ‘Here 
he was made a teacher in the school of Catharine 
and Egidius. When Crusius had prepared the 
Evangelical Lutheran Order of Service for the city, 
Decius undertook the task of drilling a four-part 
chorus to lead the singing of the Lutheran hymns. 
This brought on a great following for the Lutheran 
services. [wo years later he moved to Stettin, the 
capital city of Pomerania, urged by the Lutheran 
preacher, Paul of Rhodes. The success of these 
two men so inflamed the Catholics of Stettin that 
they tried to incite Duke Bugislav against them. 
He was at that time absent from the city. As sev- 


11 


eral of his councillors were friendly to the Luther- 
ans, the duke did not care to meddle in the dispute. 
He died September 30, 1523, before his return from 
the diet of Nirnberg. Even before that time his 
councillors had arranged that two Lutheran preach- 
ers should be permitted to conduct services during 
the hours of the day when there was no Catholic 
worship. ‘They were permitted both to preach and 
to administer holy communion according to the Lu- 
theran doctrine; Paul of Rhodes in the Church of 
St. James, and Decius in the Church of St. Nicholas. 
From that time on the Lutheran faith made steady 
progress and in 1535 the two preachers were ap- 
pointed regular pastors in their respective churches. 
The Reformation had won. Decius labored not only 
as a preacher, but took an active part in the develop- 
ment of church song in his congregation. But he 
died at an early age, March 21, 1541. His death 
came so suddenly and without previous sickness, that 
the rumor spread that he had been poisoned by the 
Catholics. (H. Nutzhorn, from E. E. Koch’s Ge- 
schichte des Kirchenlieds.) 

‘“As you sing this beautiful hymn on Sunday 
morning,” says one writer, ‘‘then bear in mind that 
this hymn has been the power of God unto salvation 
for thousands of believing hearts. And as you sing 
it with true devotion, you sing it together with the 
saints and the angels of heaven. Thus this hymn 
will become also for you a power of God to over- 
come the world, death, and hell.” Bishop Skaar, 
in his mention of this hymn, quotes the following 
from Christian Scriver’s The Soul’s Treasury, which 
is applicable also in our day: “Observe the devo- 
tional gatherings; how people take part in the wor- 


12 





ship; the manner in which they pray, sing, and praise 
God; you will soon notice that many certainly are 
not sincere in their worship. O thou ungodly, un- 
grateful, perverted heart of man! Ought not the 
face of the Christian to beam with delight, as you 
proclaim unto him the wonderful deeds of mercy 
and the merits of Christ, the grace of God, and the 
forgiveness of sin. And, when the congregation 
sings a hymn of praise like “Thee God we praise,’ 
‘All glory be to God on high,’ ‘Now thank we all 
our God,’ ‘My soul, now bless thy Maker,’ should 
not the devout Christian then praise God with all 
his heart, with all his soul, and with all his strength! 
Should not these hymns awaken all that is in us to 
sing praise and to rejoice in the spirit, to sing and 
to play unto Him in our hearts! Ought not our 
hearts then to melt like incense powder in the glow- 
ing heat of devotion!” 

‘This time-honored and glorious hymn, ‘All glory 
be to God on high,’ has in times of temptation and 
in the anguish of death often shown its power to 
bring light, comfort, and cheer to the struggling 
soul”? (Skaar). | 


3 
Sing praise to God, who reigns above. 
Al Lov of Pris 0g Z4re bér.—Landst. 546. 
Sei Lob und Ehr’ dem héchsten Gut. 
—J. J. Scuurz. 
4 hymn of nine stanzas appeared for the first 
time in the author’s tract entitled, Christliches 


Gedenkbiichlein zur Beférderung eines anfangendes 
neues Lebens, 1673. Its Biblical basis is Deuter- 


13 


onomy 32:3: ‘Because I will publish the name of 
the Lord; ascribe ye greatness unto our God.”’ 

The hymn found a ready acceptance into the 
hymnaries of the Lutheran Church and also among 
other denominations. Koch says that this one hymn 
is worth more than a hundred others, and calls it 
a classic hymn of first rank, which gained great 
favor as soon as it was published. G. C. Rieger, of 
Stuttgart, while cast upon his deathbed, found great 
comfort in this hymn; likewise the famous Jurist 
and professor, J. J. Moser. Our English transla- 
tion is by Miss Frances E. Cox. The ninth stanza of 
the original is omitted. The hymn first appeared 
in Lyra Eucharistica, 1864, and later in Miss Cox’s 
volume in the same year, Hymns from the Ger- 
man, second edition, 1864. It was rendered into 
Danish by H. A. Brorson and was published in 
Troens rare Klenodie, 1742. This translation was 
revised by W. A. Wexels, and Wexels’ version again 
was used by Landstad in his hymnary. The melody 
is one of the oldest of Lutheran origin. It was used 
as a setting for Luther’s first church hymn, ‘Nun 
freut euch lieben Christen g’mein,” 1524 (L. H. 526; 
Landst. 9). 

Johann Jacob Schiitz, born 1640, in Frankfurt 
am Main, received his education at Tubingen, 
where he studied jurisprudence. He located as an 
attorney in Frankfurt am Main. He became famous 
for his ability as a lawyer and for his piety. He 
was an intimate friend of Ph. J. Spener, and it 
was chiefly at his suggestion that the latter began 
the famous meetings of the “‘Collegia Pietatis,” 
which laid the foundations for the pietistic move- 
ment. When Spener later left Frankfurt, Schutz 


14 


came under the influence of the chiliast, Prof. Jo- 
hann Wilhelm Petersen. Schutz had formerly 
shown tendencies toward separatism, and_ this 
learned, talented, and pious, but fanatical mystic 
gave these tendencies 2 new impetus, and after a 
while he withdrew from the Lutheran Church. He 
died in Frankfurt May 22, 1690. 


A 


Our Father, throned in heaven above. 
—J. GUTHRIE. 


| Eade hymn was published in Guthrie’s Sacred 
Lyrics, 1869. The three short stanzas are 
based on the Lord’s Prayer. The melody (Tallis 
Canon) is composed by Thomas Tallis (ca. 1515- 
1585), one of the foremost English musicians of the 
16th century. 

John Guthrie, born in Milnathort, Scotland, May 
30, 1814, was educated at the University of Edin- 
burgh, receiving the M. A. degree in 1835. He 
was ordained to the ministry in 1840, and began 
his activity as a minister in the United Secession 
Church of Kendal. It very soon developed that 
he shared the anti-Calvinistic views of Dr. James 
Morrison, and he became, together with Dr. Mor- 
rison, one of the founders of the Evangelical Union. 
He, however, continued to labor in Kendal until 
1848, when he took up work in one of the churches 
of his denomination in Glasgow. In 1851 he moved 
to Greenock; in 1862 to London; four years later, 
again to Glasgow. Aside from his work as a min- 
ister, he served as professor from 1846 to 1861. In 
1878 he planned a trip to New Zealand, but came 


15 


only as far as London, where he died September 
18 of the same year. Guthrie received the degree of 
doctor of theology in 1875. In 1869 he published 
Sacred Lyrics, containing 28 original hymns, 17 
translations from the German, and 37 hymn para- 
phrases. Several of his hymns and translations are 
valued highly. 


D 
Praise to the Lord, the Almighty, the King 


of creation. 


Lover den Herre, den magtige Konge, med Are. 
—lLandst. 175. 


Lobe den Herren, den machtigen Konig der Ehren, 
Meine geliebete Seele! das ist mein Begehren. 
Kommet zu hauf, 
Psalter und Harfe wacht auf! 

Lasset die Musicam horen. 


Lobe den Herren, der alles so herrlich regieret, 
Der dich auf Adelers Fittigen sicher gefihret, 
Der dich erhalt, 

Wie es dir selber gefallt, 

Hast du nicht dieses gesptret? 


Lobe den Herren, der kiinstlich und fein dich be- 
reitet, 

Der dich Gesundheit verliehen, dich freundlich qe- 
leitet; 

In wie viel Noth, 

Hat nicht der gnadige Gott, 

Ueber dir Fliigel gebreitet? 


16 





Lobe den Herren, der deinen Stand sichtbar geseg- 
net, 

Der aus dem Himmel mit Stromen der Liebe gereg- 
net, 

Dencke daran, 

Was der Allmachtige kann, 

Der dir mit Liebe begegnet. 


Lobe den Herren, was in mir ist, lobe den Namen, 
Alles was Othem hat, lobe mit Abrahams Saamen; 
Er ist dein Licht; 
Seele! vergiss es ja nicht, 
Lobende schliesse mit Amen. 

—J. NEANDER. 


Sha hymn alone would have made the author’s 
name immortal. Under the title, Der Lobende, 
this hymn was first found in Neander’s Glaub-und 
Liebesiibung, aufgemuntert durch einfaltige Bundes- 
Lieder und Danck-Psalmen, 1680. The Biblical 
basis for the hymn is Psalm 103: 1-6, and Psalm 
150. It is Neander’s best known and most popular 
hymn. It has been translated into many languages; 
into English at least 14 times. The version in L. H. 
is by Miss Winkworth. It was the favorite hymn 
of Friedrich Wilhelm III of Prussia. It was used 
as the festival hymn at the jubilee of the minister 
of war, Albrecht von Roon, near Paris, January 9, 
1871. 

The melody, by an unknown composer, appeared 
first in the Stralsund Gesangbuch, 1665, set to the 
hymn, ‘“‘Hast du denn, Liebster, dein Angesicht 
ganzlich verborgen,” or ‘“‘Hast du dann, Jesu.” 
Neander himself chose this melody for his hymn. 


yi 


The melody suftered a few changes, until 1708, 
when it appeared in this present form. It is not 
known who translated the hymn into Danish, but 
it was included in Pontoppidan’s Hymnary of 1740. 
It appeared without any changes in Guldberg’s, 
Hauge’s, and the Norwegian Synod Hymunaries. 
Landstad gave a slightly revised version for his 
hymn book. 

Joachim Neander was born 1650, in Bremen, 
where his father, the minister Johann Joachim Ne- 
ander, served as a teacher at the pedagogium. ‘The 
family name was Neumann, or Niemann, but the 
erandfather, Joachim N., who also was a minister, 
changed the name to Neander. The younger Jo- 
achim completed the course at the pedagogium and 
afterwards at the gymnasium of Bremen. Here he 
associated with frivolous companions and took part 
in the reckless life of the students. In 1670 the 
noted preacher and pietist, Theodor Under-Eyck, 
formerly pastor at Miulheim, was appointed rector 
of St. Martin’s Church of Bremen. Young Nean- 
der and two like-minded companions went one day 
to Under-Eyck’s church, more particularly to criti- 
cize and ridicule the service. But Neander, being 
deeply stirred by the forceful sermon of this pious 
man, began to entertain serious scruples as to the 
salvation of his soul, and thru the fatherly guidance 
of Under-Eyck he was led forward to a true con- 
version. In 1671, when he had concluded his 
studies, he was appointed private tutor for the sons 
of a few wealthy merchants. He accompanied the 
boys to the university of Heidelberg and remained 
there till the fall of 1673. He spent the following 
year in Frankfurt am Main, where he became ac- 


18 





quainted with Philipp Jakob Spener and J. J. Schutz, 
and others belonging to this circle. In the spring of 
1674 he was appointed rector of the Latin school 
at Dusseldorf. This institution was at that time 
under the supervision of the Reformed pastor and 
the church council of that city. The pastor, Syl- 
vester Liirsen (also from Bremen, and a few years 
older than Neander), was a very able and earnest 
man, but jealous and of a contentious spirit. At 
first all went well, and Neander assisted the minister 
both in preaching and in the pastoral work. But 
Neander came under the influence of Labadie and 
other separatists. He absented himself from the 
Lord’s Supper for the reason that he could not for 
conscience’ sake partake of it together with the 
unconverted sinners. Others followed his example. 
Neither did he attend public services regularly. 
Then, without consulting the pastor and the elders 
of the church, he began to conduct prayer meetings, 
set up special holidays for the school, changed the 
hours for the classes, and undertook a remodeling 
of the school buildings, all of his own accord. In 
1676 the church council investigated the matter 
and Neander was suspended as teacher and preacher 
from January, 1677. But already the same month 
he signed a declaration binding himself to follow 
the rules of the church and school. He was then 
permitted to resume his work as teacher, but could 
not continue as assistant preacher. The story of his 
exile from Disseldorf and his sojourn in Neander- 
thal, near Mettmann, is not reliable. Yet it is not 
impossible that some of his hymns were composed 
during his frequent trips into the beautiful Nean- 
derthal. In 1679 Neander was called to Bremen as 


1g 


Under-Eyck’s assistant at the church of St. Martin. 
He accepted, altho the position offered only 40 
thaler per year and home. This was intended as a 
stepping stone to a better position for him, but his 
career was ended May 31, 1680. During his illness 
he had to go thru a violent spiritual struggle, as it 
appeared to him that the Lord had hidden His face 
from him. But he found comfort in these words: 
‘Tt is better to hope unto death than to die in un- 
belief... Death came on Pentecost Monday. He 
requested that Hebrews 7:9 be read to him, and 
when asked how he felt, he replied: ‘‘The Lord 
has settled my account, Lord Jesus, make also me 
ready.” Shortly after he said in a whisper, “It is 
well with me. The mountains shall be moved, and 
the hills shall tremble, yet the grace of God shall not 
depart from me, and His covenant of peace shall 
not be moved.” 

Neander was the first hymn writcr of importance 
in the Reformed Church of Germany. The greater 
number of his hymns were evidently written at Dus- 
seldorf. Fifty-seven of these were published in the 
volume, Glaub-und Liebesiibung, mentioned above. 
In the fifth edition of this book, printed in Frank- 
furt and Leipzig, 1691, eight new hymns were added. 
W. Miller says, ‘“‘Neander’s hymns are sincere and 
unpretentious expressions coming from a_ heart 
which has turned to God and found salvation in 
Him; they are not brilliant, but they are deeply 
religious and Biblical in expression and spirit, and, 
furthermore, they are free from obscure mysticism.” 


20 





6 


All hail the power of Jesus’ name. 
—HE, PERRONET. 


CG hisas hymn was first printed in Gospel Maga- 
zine, London, 1780. It contained eight verses 
with the title, On the Resurrection, the Lord 1s 
King. It was written the year before. In 1779 
the first stanza appeared in the Gospel Magazine, 
set to Wm. Shrubsole’s melody. The hymn was also 
printed in Occasional Verses, Moral and Sacred, 
London, 1785. ‘The author’s name was not given 
even here, but it was now generally known to be 
Perronet’s hymn. Later on it was revised and re- 
edited. The edition as it now appears in the greater 
number of hymn books is by Dr. J. Rippon. Hymn 
No. 6 in The Lutheran Hymnary contains stanzas 
1 and 5-8. ‘The last stanza was added by Dr. 
Rippon (Baptist minister and publisher of hymn 
books, London, 1751-1836). Perronet’s hymn is 
one of the most extensively used and most popular 
in the English speaking world. It is mentioned 
among the ten best hymns of English hymnody. It 
has been translated into many languages, among 
others into Latin by Dr. H. M. McGill, “Salve, 
Jesu, forte nomen.’ Another Latin version is 
‘Salve nomen potestatis.”’ 

The famous Methodist preacher, Wm. Dawson, 
‘Billy Dawson,’’ caused a great sensation in Lon- 
don by his original and stirring sermons, which 
drew thousands of hearers. Thus at a large gather- 
ing he preached on Christ the Prophet, Highpriest, 
and King. In the last part of the sermon he pic- 
tured the coronation procession of prophets, patri- 


21 


archs, apostles, and martyrs, who throng the sanc- 
tuary to do homage to their Lord and King. Sud- 
denly the preacher paused in the sermon and began 
singing ‘‘All hail the power of Jesus’ name.” ‘The 
effect was overwhelming. The entire audience arose 
and sang the hymn with enthusiasm and _ power. 
Wm. Shrubsole’s melody, ‘‘Miles Lane’ (from a 
chapel in Miles Lane, London, where a free con- 
gregation conducted its services), was written when 
the composer was 20 years of age, while he was 
chorister in Canterbury Cathedral. It is used chiefly 
in England. There are also several newer melodies 
for this hymn. In America the melody ‘‘Corona- 
tion” (L. H. 6) is used very extensively. This was 
composed by the American composer, Oliver Hol- 
den (b. 1765) of Massachusetts. He was a dealer 
in music and also served as director of music. He 
published The American Harmony in 1792, and the 
Worcester Collection in 1797. WHolden died in 
Charleston, Mass., Sept. 4th, 1844. The English 
melody is the best and is especially effective with 
the three-fold, ‘‘Crown Him.” But it requires a 
greater range of voice (from low B to F). Hhbol- 
den’s melody is used most extensively in this coun- 
try, both because it is “‘ours’’ and because it is me- 
lodious and very singable. 

Edward Perronet was the son of Rev. Vincent 
Perronet, whose father, David Perronet, a French- 
man, settled in England about the year 1680. Vin- 
cent, educated at Oxford, became vicar of Shore- 
ham, Kent, 1726. He was a zealous evangelical 
preacher and labored with the Wesley brothers and 
George Whitefield. Edward Perronet was born 
August 2, 1721 (according to some, 1726). From 


22 





his 23rd year he served with his brother Charles in 
the Methodist movement. In 1756 Edward Per- 
ronet wrote a satirical poem in which he bitterly 
attacked the State Church and its leading men. 
John Wesley and others were highly incensed over 
this poem and demanded that it should be sup- 
pressed. This was also done. Later on Edward 
Perronet became pastor for a congregation of dis- 
senters in Canterbury, where he died January 2, 
1792. He is mentioned as a zealous, fiery; and 
energetic preacher, who faithfully proclaimed the 
Gospei “in season and out of season.”’ His poems 
were published anonymously in three small volumes: 
I. Select Passages of the Old and New Testament 
Versified; 2. A Small Collection of Hymns, etc.; 3. 
Occasional Verses, Moral and Sacred, London, 


L785. 


7 


My soul, now bless thy Maker. 
Min Sjal, min Sjal, lov Herren.—Landst. 77. 
Nun lob, mein Seele, den Herren. 
—-JOHANNES GRAUMANN. 


C, RAUMANN'S famous hymn, based upon the 

103rd Psalm, was first published in Nurnberg, 
1540. It also appeared in Kugelmann’s Hymnal of 
the same year. Martin Chemnitz relates that Grau- 
mann was requested to write this hymn in 1525 by 
the elector Albrecht, whose favorite Psalm was the 
103rd. Chemnitz adds: “I often recollect with 
joy what I witnessed eight years ago, when this 
pious ruler lay upon his deathbed. At all devotional 
meetings he requested that this hymn be sung last. 


23 


How he joined in the singing of the beautiful text 
and was cheered with the many pious thoughts which 
he thus gathered! On this account the hymn is 
especially cherished also by me.”’ 

This hymn was sung at the Lutheran service con- 
ducted in the Church of St. Anna by Gustavus 
Adolphus after he had entered the city of Augs- 
burg and restored the Augsburg Confession. It was 
sung with bassoon accompaniment at Osnabriick, 
1648, celebrating the peace at the close of the Thirty 
Years’ War. ‘The Danish-Norwegian king, Chris- 
tian III (d. 1559), sang this hymn upon his deathbed 
and expired while singing the words, “For, as a 
tender father hath pity on his children here.” It 
has found a place in almost all Danish-Norwegian 
hymnals. The first Danish version was published in 
Hans Thomissgn’s Hymn Book of 1569. Another 
translation was later made by Landstad. 

The first English translation was rendered by I. 
C. Jacobi in 1722. The version which appears in 
our Lutheran Hymnary is by Miss C. Winkworth 
and dates from the year 1863. The melody em- 
ployed in The Lutheran Hymnary was composed by 
Ludvig M. Lindeman. The original tune used with 
this hymn in 1540 was possibly written by Hans Ku- 
_gelmann. This is found in The Lutheran Hymnary 
as the setting for Nos. 385 and 468. 

Johannes Graumann, also known by the name Polli- 
ander, the Greek translation of his name, was born 
July 5, 1487, in Neustadt, Bavaria. He studied in 
Leipzig, where he afterwards was appointed teacher 
at the Thomas-Schule. During the disputation of 
1519 between Eck, Luther, and Carlstadt, Graumann 
served as a loyal Catholic on Eck’s side. But this 


es 





disputation brought on him a doubt as to the cor- 
rectness of his position, and this for two reasons: 
he was struck by the fact that Luther always sup- 
ported his opinions with references to the Holy Scrip- 
tures; in the second place, he was moved by Luther’s 
strong appeal to the dictates of conscience rather 
than by Eck’s cleverness in the art of disputation. 
As Graumann often had occasion to preach, his 
sermons from now on became more and more Lu- 
theran. In 1520 he was appointed rector of the 
Thomas-Schule. But he nourished a strong de- 
sire to leave Leipzig and go to Wittenberg, all 
the more now because his activities in the interest 
of the Reformation had brought on strained rela- 
tions with the Catholic duke, George of Saxony. In 
1522, after having found one who could take his 
place as rector of the Thomas-Schule, he went to 
Luther and Melanchthon at Wittenberg. 

The following year he was made a preacher in 
the Bavarian town of Wurtzburg am Main. There 
he served for two years, until 1523, when the Peas- 
ants’ War broke out and spread into those parts. 
Graumann moved to Nirnberg. But Luther, the 
same year, induced him to go to Konigsberg, where 
he assisted John Briesmann in furthering the cause 
of the Reformation in the province of Count Al- 
brecht of Brandenburg. Graumann also reorgan- 
ized the school system of Brandenburg. The count 
appointed him preacher in the Altstadt church of 
Konigsberg. There he not only gathered a large 
number of hearers, but he showed that he was fear- 
less in his proclamation of the Gospel truths, and 
braved even the risk of incurring the displeasure of 
the count. It came about in this manner. Ana- 


25 


baptist doctrines had gained favor with many con- 
gregations and preachers, and, altho their leader 
was an intimate friend of the elector, still Grau- 
mann sharply attacked him. The count decided that 
the two parties should meet for a public disputation, 
and the victorious doctrine should be given the right 
of way in the land. At the disputation Graumann 
was victorious. No matter how cleverly the Ana- 
baptists advanced their proofs, Graumann, with 
clear and direct Scripture statements, refuted all 
their arguments and silenced all his opponents. In 
that manner the province was saved from the Ana- 
baptist domination. Graumann died in the year 
1541 from a stroke of paralysis at the age of 54. 


8 


The heavens declare Thy glory. 
—T. R. Birk. 


aes hymn paraphrase was first printed in the 
author’s Companion Psalter, 1874. It is a spir- 
ited hymn of praise based on the 19th Psalm. The 
author, Thomas Rawson Birks, born 1810, was ed- 
ucated at Trinity College, Cambridge. He became 
rector of Killshall, Herts, 1844; vicar of Holy 
Trinity, Cambridge, 1866; Hon. Canon. of Ely 
Cathedral, 1871; professor of moral philosophy 
at Cambridge, 1872. At the latter place he died 
in 1883. Among other works he left a two-volume 
edition of The Memoirs of Rev. E. Bickersteth 
(Birks’ father-in-law). Birks’ hymns and hymn 
paraphrases were published in Bickersteth’s Chris- 
tian Psalmody, 1833, and in his own Companion 
Psalter, 1864. Birks has written in all about 100 


26 





hymns. His hymns are used more extensively in 
America than in England. ‘The hymnologist, J. 
Julian, says that Birks’ hymns deserve greater recog- 
nition than they have received up to the present 
time. 

The melody used for this hymn has been called 
“St. Theodulph,” because it has long been connected 
with the Latin hymn, ‘‘Gloria, laus et honor” (All 
glory, laud and honor), written about 820 by St. 
Theodulph of Orleans. It has also been called 
“Kronstadt” and ‘Valet’? (Will ich dir geben) be- 
cause it was composed to a hymn with this beginning 
under the title, Ein anddgtiges Gebet, Leipzig, 
1615. The melody was composed by Melchior 
Teschner, cantor at Frauenstadt in Silesia, about 
Voth 


9 
Praise, my soul, the King of heaven. 


—H. F. Lyre. 
aes hymn is based on the 103rd Psalm of Da- 


vid. It is one of the most beautiful hymn para- 
phrases composed by Henry Francis Lyte. It was 
published in his Spirit of the Psalms, in 1834. It 
is a mistake that the beautiful melody, ‘‘Praise, my 
soul,’ composed for this hymn by John Goss, does 
not appear with this hymn in The Lutheran Hym- 
nary. It is used for number 129. 

Henry Francis Lyte, son of Captain Thomas 
Lyte, was born June 1, 1793, in Ednam, near Kelso. 
He was educated in the Royal School of Emiskillen 
and Trinity College, Dublin, where he was gradu- 
ated in 1814. He won great distinction at the uni- 


ad 


versity, receiving three prizes for English poems. 
At first he planned to study medicine, but gave this 
up for the study of theology and was ordained in 
1815. He served near Wexford and later at Mara- 
zion in Cornwall. So far he had not been imbued 
with Christian earnestness to any great extent, but 
in 1818 the sickness and death of one of his friends 
and colleagues brought a radical change in his spir- 
itual life. When he was to try to bring comfort 
to his dying brother clergyman he began to feel how 
sorely he himself needed to enter into a closer com- 
munion with his Lord and Savior, Jesus Christ, and 
the two friends began a period of intense devotion 
and prayer. He writes about the death of his 
friend: ‘He died in willing resignation under the 
will of God, and with the firm conviction that, altho 
he had sinned much, still there was one who by His 
suffering and death had atoned for all his transgres- 
sions.’ Lyte adds that, at the deathbed of this 
friend, he himself went thru a great spiritual 
awakening, receiving a wholly different view of life, 
a new vision of the requirements of Christianity. In 
all earnestness he now took up the study of the 
Word of God, and his preaching became quite dif- 
ferent from what it had been. He showed a spirit 
of great selfsacrifice in caring for the family of his 
departed friend. A fervent desire to serve his Lord 
and Savior and to help his fellowmen in spiritual 
and bodily need, became from now on the guiding 

force in his life. He had a very weak constitution, © 
but when his friends begged him to seek relief, he 
replied that it was better to wear one’s self out in 
the service of the Lord than to rust away. In 1819 
he was transferred to Lymington, where he wrote a 


28 


collection of poems, Tales on the Lord’s Prayer. 
In 1823 he was called as perpetual curate of Lower 
Brixham, Devon, and among these sturdy people his 
labors were richly blessed, until, stricken with con- 
sumption of the lungs, in the fall of 1847, he had 
to leave for Nizza, Italy, where he died November 
20th, the same year. | 

Among Lyte’s poetic works may be mentioned: 
1. Poems, Chiefly Religious, 1833, and an enlarged 
edition, 1845; 2. The Spirit of the Psalms, 1834; 
enlarged edition, 1836. After his death Miscel- 
laneous Poems, 1868, and Remains, 1850, were pub- 
lished. Lyte’s hymns are noted for their beautiful 
diction, a deeply religious and pious tone. Even 
in his hymns which breathe the spirit of the rejoic- 
ings of faith there is an undercurrent of sadness and 
grief. Many of his hymns are very popular, and 
are used by all denominations thruout the English- 
speaking world. 


10 


I praise Thee, O my God and Father. 
O, at jeg hadde tusind Munde.—Landst. 514. 
O dass ich tausend Zungen hatte. 
—J. MENTZER. 


(pie above-mentioned hymn in The Lutheran 
Hymunary is a translation of stanzas 6, 7, 8, 10, 
11, of Mentzer’s famous hymn, ‘‘O dass ich tausend 
Zungen hatte,” which contains 15 stanzas. It was 
published first in Freylinghausen’s Gesangbuch, 
1704, and passed over into many hymnals. This 
translation into English is by Miss C. Winkworth. 
There are 6 other English translations. It was pub- 


29 


lished in Danish in Pontoppidans Nye Psalmebog, 
1740, following the translation of Fr. Rostgaard 
and Birgitte Kaas. The melody is by Johann Bal- 
thazar Koenig (born 1691, in Waltershausen von 
Gotha, and died 1758, in Frankfurt am Main). In 
the latter place he served as music director and pub- 
lished in 1738 a large collection of chorals: Deut- 
scher Liederschatz. 

Johann Mentzer, the author of this hymn, was 
born in 1658, in Sahmen, near Roxenburg in Silesia, 
and studied theology in Wittenberg. He became 
pastor in Merzdorf, 1691. He was transferred to 
Hauswalde in 1693, and in the year 1696 to Chem- 
nitz, near Bernstadt, Saxony, where he died in 1734. 
He was an intimate friend of Count N. L. von Zin- 
zendorf and had connections also with other famous 
hymn writers. About 30 of his hymns were included 
in contemporary hymnaries. Mentzer’s hymns are 
characterized by a deeply religious sentiment and 
fervent love for the Savior. Zinzendorf called 
Mentzer “‘a Christian purged in the furnace of trib- 
ulations.” 


LEE 


Ye lands, to the Lord make a jubilant noise. 

Al Verden nu raabe for Herren med Fryd. 
—Norw. Synod Hymn Bk. 443. ! 

—U. V. Koren. 


Ree U. V. KOREN was intensely interested in 
church music. He became the leader in the 
work of compiling the hymn book for the Norwe- 
gian Synod. In this edition the above-mentioned 
hymn was first published in 1874. This happy ver- 


30 


sion of the 100th Psalm of David, together with his 
translation of “Dies irae, dies illa’” (Hymn bk. of 
Norw. Synod 54), and his revisions of a number of 
hymns, show his unusual ability to strike the true 
spirit of the church hymn. They bear witness of 
his aesthetic taste and marked sense of rhythm and 
euphony. His hymn paraphrase was entered into 
G. Jensen’s ‘‘Utkast tiny Salmebog” for the Church 
of Norway, but later omitted by the committee in 
charge. For the revised edition of the hymn book 
for the Norwegian Synod, Dr. Koren rewrote sev- 
eral hymns, making them better suited for church 
use. He was also very musical and keenly inter- 
ested in the older rhythmic form of church music. 
At his suggestion was published the Rythmisk Koral- 
bog, which had some influence upon the composition 
of The Lutheran Hymnary. The English transla- 
tion of Dr. Koren’s hymn is by Mrs. Harriet R. 
Spaeth, 1898. The melody is by Erik Christian 
Hott (b. 1832). Hoff was an organist in Chris- 
tiania. Among other works he has published a book 
of chorals for church use. 

Ulrik Vilhelm Koren was born in Bergen, Nor- 
way, December 22, 1826. He completed the course 
at the Cathedral School of Bergen and entered the 
University of Christiania in 1844. In 1852 he be- 
came a candidate of theology and was given a teach- 
ing position at Nissen’s latin og real-skole. In 1853 
he received a call to a pastorate among some Nor- 
wegian congregations of the state of Iowa. He 
accepted this call and was ordained to the ministry 
in Norway on the 25th of July, 1853. During the 
winter the young minister, accompanied by his wife, 
Else Elisabeth (Hysing), set out upon the voyage 


31 


across the ocean, to preach the Gospel to their coun- 
trymen who had settled on the plains of the far 
West. They arrived in Little Iowa (later called 
Washington Prairie) in December, 1853. Rev. U. 
V. Koren was the first Norwegian pastor to settle 
west of the Mississippi river. For many years he 
served the settlements of northeastern Iowa and 
southeastern Minnesota, a territory now comprising 
more than 20 parishes. In 1855 he was chosen 
secretary for the Norwegian Synod; was a member 
of the church council from 1861; vice-president of 
the Synod, 1871-1876; president of the Iowa dis- 
trict, 1876-1894; from 1894 until his death, 1910, 
president of the Norwegian Lutheran Synod of 
America. On Christmas Day, 1903, he delivered 
his 50th Christmas sermon before his congregation 
on Washington Prairie, where he had resided con- 
tinuously thruout his long term of activity. 


12 
Praise the Lord, ye heavens adore Him. 


4 Pes hymn is based on the 148th Psalm. The 

first stanza appeared for the first time in a tract 
which was pasted into the music edition of a collec- 
tion of hymns used in the Foundling Hospital, Lon- 
don, 1796. Later it was printed also in the text 
edition of the same collection, but without giving 
the name of the author. It has been attributed to 
John Kempthorne and to Bishop Mant, but without 
good reason. In W. Russell's Foundling Collection, 
1809, it has been set to Haydn’s melody. As a rule, 
this tune has since been used for the hymn. It has 


oi 


found a place in a great many hymn books in Eng- 
land and America. 

The melody, variously called “Austria,” ‘“Haydn,” 
or “Vienna,” is by the famous Austrian composer 
Franz Joseph Haydn (1732-1809). He was far 
advanced in years when he wrote it upon a request 
to furnish a melody for the Austrian national an- 
them, *Gott: erhalte “‘Hranz’ den.) Kaiser. deawas 
sung for the first time in all the theatres of Vienna 
on the occasion of the emperor’s birthday anniver- 
sary in 1797, and became immensely popular, not 
only thruout Austria, but also in other lands. It 
has been used with many national poems, and 
Haydn, who valued it very highly, later composed 
a number of variations upon it. He also made use 
of it in his Kaiser-Quartet. It is claimed that this 
tune was built upon the melody of an ancient Cro- 
atian folksong. 


13 
With joyful heart your praises bring. 
Bringt her dem Herren Lob und Ehr’. 
—C. GUENTHER. 


A English translation of this hymn was made 
by the Rev. A. T. Russell for his Psalms and 
Hymns, 1851. The melody is one of the oldest in 
the Lutheran Church. It was first printed in Etliche 
Christliche Lieder, 1524, and has been employed 
as the melody for Luther’s first hymn, ‘‘Nun freut 
euch, lichen Christen @ mein’y (har) 20)) ane 
author, Cyriacus Gunther (born January 15, 1649, 
in Goldbach, near Gotha), received his education 
at the gymnasium of Gotha and the University of 


33 


Jena. He labored asa teacher in Eisfelt and Gotha, 
where he died in 1704. He left upwards of 30 
hymns in manuscript. Of these, 10 were published 
in Freylinghausen’s Neues Geistliches Gesangbuch, 
1714. Of this number, two have been translated 
into English by the Rev. A. T. Russell, namely, the 
above mentioned hymn and ‘Halt im Gedachtniss 
Jesum Christ.” 


14, 


Before Jehovah’s awful throne. 
—I. Watts. 


es hymn paraphrase by Isaac Watts, based on 
the 100th Psalm, first appeared in Watts’ 
Psalms of David, 1719. ‘The hymn, originally of 
6 stanzas, began thus, ‘“‘Sing to the Lord with Joy- 
ful voice.” The change in the first line was intro- 
duced by John Wesley, who omitted the first stanza 
of the original. This hymn is used in all English 
speaking countries, and has been translated into 
many languages, among others into Latin, by R. 
Bingham, 1871 (Ante Jehovae tremendum). (Re- 
garding the melody see No. 1.) 

Isaac Watts was the oldest son of the teacher 
Isaac Watts. His father was a zealous Non-Con- 
formist (dissenter), who was imprisoned twice on 
account of his religious convictions. Both these im- 
prisonments took place during the early years of 
the son Isaac. The family home was at Southamp- 
ton, where Isaac’s father conducted a flourishing 
boarding school. Here Isaac was born July 17, 
1674. The boy was exceptionally talented. He 
received instruction among other studies also in 
Latin, Greek, and Hebrew, and he made great 


34 


progress in these branches even during his child- 
hood years. His poetic talents also developed early. 
His brilliancy drew the attention of leading men in 
the city, and several friends offered to pay for his 
education at some university, provided he would be- 
come a minister in the Episcopal Church. Watts did 
not accept this offer, but in 1790 he went to the Non- 
conformist Academy at Stoke-Newington, conducted 
by Thomas Rowe, pastor of the free congregation. 
Watts was formally accepted as a member. At 
20 years of age he left the academy and spent the 
next two years at his home in Southampton. Here 
he took up his life’s task of furnishing the congre- 
gation with new, good, Scriptural hymns. While 
here he composed the greater number of his Hymns 
and Spiritual Songs. ‘They were first sung from the 
manuscripts in the Southampton church. His first 
hymn was, ‘“‘Behold the glories of the Lamb,” based 
on Rey. 5:6, 8, 9, 10, and 12, of which the first 


stanza is as follows: 


Behold the glories of the Lamb, 
Amidst His Father’s throne. 

Prepare new honors for His name, 
And songs before unknown. 


The six years following he spent in Stoke-Newing- 
ton in the home of the influential Puritan, Sir John 
Hartopp, whose son was given private instruction 
by Watts. It was thru the intense studies carried 
on especially during these years that he gained the 
profound theological and philosophical knowledge 
which marks so many of his later works. But dur- 
ing these years he also ruined his health beyond 
recovery. 


35 


Watts preached his first sermon at the age of 24, 
in Mark Lane, London, and during the next three 
years he preached on many occasions. In 1702 he 
was ordained to the ministry and was placed in 
charge of the large and noted free congregation of 
Mark Lane, where his predecessors in the office had 
been among the most prominent and _ influential 
clergymen. The membership of this congregation 
included many of the leading men and women. But 
his health failed so that already the following year 
the congregation had to supply an assistant pastor. 
After:a protracted illness he was invited into the 
home of Sir Thomas Abney, where he remained the 
rest of his life, his last 13 years at Stoke-Newington. 
He was never married. In 1728 he was given the 
degree of doctor of theology by the University of 
Edinburgh. His health continued on the decline un- 
til November 25, 1748, when he thru a quiet and 
peaceful death was released from his sufferings. He 
was buried in the Bunhill Fields, and a monument 
was raised in his honor in Westminster Abbey. 

Isaac Watts was the first prominent English hymn 
writer. He has justly been called the father of Eng- 
lish hymnody. Thru him congregational singing 
was raised to its proper place in the public worship, 
and was imbued with new power and life. Julian 
mentions 454 original hymns and versions of the 
Psalms of David which are in common use in Eng- 
lish speaking countries. Many have been translated 
into other languages. Besides these, many ‘‘centos” 
or new hymns have appeared thru the selection and 
partial revision of certain stanzas from the original 
hymns. Many have severely criticized his hymns 
and especially his versifications of the Psalms of 


36 





David as lacking in poetic spirit; that the traditional 
four-line stanzas have a monotonous effect, and here 
and there built up with vulgar and tasteless expres- 
sions. It may be true that Watts, in many of his 
hymn paraphrases and original hymns, does not 
reach greater heights than some of his predecessors. 
He says himself that he has borrowed ideas and ex- 
pressions from poets like Denham, Milbourne, 
Tate, and Brady. 

Bombastic expressions were in harmony with the 
taste of the times. It is not surprising, therefore, 
that even a poet of the order of Watts should oc- 
casionally be drawn into the traditional style of his 
age. Allin all he ranks high above all his predeces- 
sors and contemporaries, and no one has had greater 
influence upon the development of English hymnody. 
In his hymns there: is great wealth of imagery, 
beauty of expression, lyric euphony and rhythm. 
They are characterized by deep piety and faith, 
childlike joy and exultation in praise. They are 
Biblical and churchly. His versions of the Psalms 
of David are more on the order of paraphrases or 
free renderings with the Psalms of David as texts, 
than metrical versifications or translations. They 
are eminently evangelical, they place the poetry of 
the Old Covenant in the light of the Gospel by con- 
tinuously interweaving parallel passages from the 
New Testament. No other English hymn writer 
has been given so much space in The Lutheran 
Hymunary or in other English-Lutheran hymnals, as 
Isaac Watts. In number they approach Luther’s 
and Gerhardt’s. The Lutheran Hymnary contains 
18 of his most cherished hymns. They are all of 
the type of the four-line stanza and belong to his 


37 


most beautiful hymns. Dr. Watts’ great learning, 
his piety, mild disposition, and warmheartedness 
have gained for him the name of the ‘‘Philip Me- 
lanchthon of England.” His most famous hymn is, 
‘When I survey the wondrous cross” (L. H. 306). 

Watts’ collection, Hymns and Spiritual Songs, 
was published in 1707-1709, altho written earlier 
(see above) ; Divine and Moral Songs appeared in 
1715 and Psalms in 1719. A few hymns are also in- 
cluded in the collection of poems, Horae Lyricae, 
1706-1709. Other hymns are found among his 
printed sermons, 1721-1724. His Catechism, Bible 
History, and The World to Come, gained large dis- 
tribution. His book on logic was used as a text 
book in Oxford University for many years. Among 
his other works may be mentioned Speculations on 
the Human Nature of the Logos, and The Improve- 
ment of the Mind. 


15 


Lord, with glowing heart I'd praise Thee. 
(Praise for Pardon and Peace). 


HS KRY: 


oe hymn was first printed in Dr. Muhlen- 
berg’s Church Poetry, 1823. The author, 
Francis Scott Key, born in Maryland, 1779, was 
educated at St. John’s College, Annapolis. He be- 
came an attorney; practiced in Washington, D. C., 
and was appointed United States District Attorney. 
He held this office until his death, January 11, 1843. 
He died in the city of Baltimore. 

_ Of his hymns seven have been published and are 
to be found in various hymnals. Mr. Key’s prin- 


38 


cipal fame was won as author of The Star Spangled 
Banner. He was a member of the Episcopal Church 
and was a pious and exemplary person. His poems 
were published in 1857. A monument has been 
erected in his honor in San Francisco, Cal. The 
melody employed with this hymn was first published 
in Geistreiches Gesangbuch, Halle, 1704, as a set- 
ting for the famous hymn, “O Durchbrecher al- 
ler Bande,” by Gottfried Arnold. (See under 160.) 


16 
Come, my soul, thy suit prepare. 
—J. NEWTON. 


Apel hymn of John Newton’s is based on I 
Kings 3:5: ‘In Gibeon the Lord appeared to 
Solomon in a dream by night: and God said, Ask 
what I shall give thee.” The hymn was published 
in the collection of Olney Hymns, 1779, and is one 
of Newton’s most popular hymns. It was used very 
frequently in Spurgeon’s tabernacle in London. 
Spurgeon requested that the hymn be sung softly 
and subdued immediately before the general prayer. 
The original contained seven stanzas. The melody 
(Vienna, Ohne Rast, or St. Boniface) appeared first 
in J. H. Knecht’s Vollstandige Sammlung, Stuttgart, 
1799, set to the hymn, ‘Ohne Rast und unverweilt.” 

John Newton was born in London, July 24, 1725. 
His father served as captain of a merchant vessel. 
His mother was a very pious, but sickly woman, 
whose only joy was to instruct her little child, to read 
and to pray with him. At the age of four years 
the boy could read. He read the Westminster Cate- 
chism and the accompanying Bible passages, to- 


39 





gether with Dr. Watts’ Catechism and Hymns for 
Children. It was the mother’s hope and prayer 
that the boy should become a minister. Frequently 
she expressed this desire to her son. The instruction 
and spiritual care which he received from his pious 
mother had a far-reaching influence upon his future. 
But when John was only seven years of age, his 
mother died, and his step-mother did not continue _ 
the systematic instruction in religion. He continued 
in school and learned the elements of Latin. On his 
11th birthday he joined his father on board ship 
and accompanied him on five voyages to the Med- 
iterranean Sea. He fell in with bad comrades, and 
after a while became the wildest among the ship- 
mates. Newton has himself described the life which 
he led during these years, and many have criticized 
him, saying that he has painted it unnecessarily dark. 
But he seems to have been fired with an immoderate 
desire to present himself as a terrifying example by 
openly portraying the unbridled life of his youth. 
It seems, however, that he could not entirely undis- 
turbed enjoy his sinful life. ‘The admonishings and 
prayers of the dear mother of his early childhood 
seemed to pursue him constantly. At times he would 
spend days and nights reading his Bible and praying. 
During several years he experienced a number of 
these intensely religious periods. They might some- 
times last for weeks, but they were, as he himself 
says, a shallow Christianity. He sought to stay 
his conscience by reforming himself and by a strict 
attention to duty. But his heart lacked the deeper 
sincerity and earnestness, and soon he would again 
cast himself into the most reckless living. We do 
not wish to dwell upon the many sad pictures from 


40 


his early years, altho many incidents might be point- 
ed out that would be of great psychological interest. 

Following the second voyage he was offered a 
good position in Spain, but in his thoughtlessness 
he refused the offer, which act he later explained 
thus: ‘“‘“As I was my own worst enemy, I seemed 
determined that no one should be my friend.” As 
time went on he was drawn into the worst forms of 
unbelief and greatly enjoyed reading Shaftesbury’s 
writings. His father gave up the seafaring life, 
and the young man then joined one of his friends, 
who advanced him to midship-man. While oc- 
cupying this office he would often seek to inculcate 
virtue and morals in his fellow workmen, while he 
himself led the most degraded life. This may ex- 
plain the great indignation and severity with which 
he later on, as a pastor, attacked all forms of hy- 
pocrisy and sham-Christianity. 

He fled from the service, but was recaptured and 
brought back to Plymouth. He was brought on 
board his ship and publicly whipped and degraded. 
Then began the darkest period of his life. He 
was sent to a slave ship, and treated as a slave. 
His ruin was impending. Only his sincere love for 
the young girl, Mary Catlett, to whom he was en- 
gaged at the age of 17 (she was at that time 14), 
now buoyed him up during this time of stress and, 
trial. The curious fact also deserves to be men- 
tioned that at this time of deepest depression he 
undertook the study of mathematics and languages. 
Finally, the great crisis of Newton’s life came as 
he was upon a return voyage to England in 1748. 
By chance he received a copy of The Imitation of 
Christ, by Thomas a Kempis. This book stirred his 


41 





soul to its depths. His awakening conscience gave 
him no peace, and during a storm which threatened 
to wreck the ship, the feeling of misery rose to a 
cry of despair within his soul. 

From that moment Newton became a new man. 
Gradually he acquired greater peace of mind, but 
as he formerly had not been able to cast himself 
entirely into a life in sins, in like manner, he now 
felt that he could not wholly consign himself to 
the forgiving grace of God. It was so difficult to 
find the way to the heart of God, while the mem- 
ories of his former life cast their dark shadows 
over his soul. He now sought, thru strict observ- 
ance of duty and a moral life, to do penance for 
the sins of his earlier years. This he tried to prac- 
tice during the six years of his life spent as com- 
mander of a slave vessel. At the same time his 
moral and intellectual life ripened, as he made use 
of all free hours for reading and study. On his 
last return voyage to England he met a pious cap- 
tain, and their meeting became of great blessing 
to Newton. This new friend spoke reverently and 
sincerely of the great love of Jesus Christ. They 
spent about a month together in meditation and 
prayer. Newton says that it was during this time 
that he received a true and living faith. 

Following an illness after his last voyage, in 1754, 
his physician declared him unfit for service at sea. 
He was then given a position as inspector of docks 
in Liverpool. Here began his connection with 
Whitefield, Wesley, and the Non-Conformists. He 
began the study of Hebrew and Greek, took part in 
prayer meetings, delivered occasional sermons at the 
meetings of the dissenters, until 1764, when he was 


42 


ordained pastor of Olney. For a number of years 
his labors were richly blessed, thru his sermons, his 
pastoral work, and not the least thru his hymns. 
The Olney House became the center of a pronounced 
religious awakening, and Newton, the soul of this 
activity, was much sought as an advisor, pastor, and 
friend, by rich and poor alike. He carried on an - 
extensive correspondence, and composed his best 
works while in the Olney parish. Among his works 
must be mentioned the book of The Olney Hymaus, 
containing hymns by himself and by his friend and 
co-laborer, the poet William Cowper. 

In 1779 Newton was appointed rector of St. 
Mary Woolnoth, London, where he labored until 
his death, December 21, 1807. When his eye-sight 
failed and his friends advised him to cease preach- 
ing, he replied: ‘‘What! Shall the African scoffer 
cease, as long as he is able to speak!” 

Newton’s hymns depict in a clear and impressive 
manner the contrast between the utter depravity 
of human nature and the boundless grace of God in 
Jesus Christ. There is little of the spirit of re- 
joicing and praise, but a confident note of trust and 
comfort. His hymns are found in all English 
hymnals. 


17 


Rejoice today with one accord. 


—SIR H. W. BAKER. 


Beep upon the first stanza of the 135th 

Psalm, this hymn was first published in the 
first edition of Hymns Ancient and Modern, 1861, 
and it also appeared in the later editions of this 
work, as well as in many other hymnals. ‘This is 


43 
one of the few hymns of praise written by Baker. 
It is written to Luther’s melody, ‘“A Mighty Fort- 
ress is our God,” and has been used extensively 
in England and other countries. 

Sir Henry Williams Baker, baronet, oldest son 
of Admiral Sir Henry Lorraine Baker, was born 
in London, May 27, 1821, and received his educa- 
tion in Trinity College, Cambridge. He was ordained 
to the ministry in 1844, and in 1851 became vicar of 
Monkland, Herefordshire, where he labored until 
his death, February 12, 1877. Sir Henry Baker’s 
name is especially connected with the famous work 
on hymnology, Hymns Ancient and Modern. This 
work contains 33 of Baker’s own hymns. He was 
the chairman of. the commitee that prepared the 
first ‘edition of this work, 1861, and continued in- 
cessantly, thru a period of 20 years, in the work of 
revising and perfecting the editions for publication 
in 1868 and in 1875. Baker also prepared Hymns 
for the London Mission, 1874, and Hymns for the 
Mission Services, 1876. Baker’s hymns enjoy a 
high rank. His style is clear and simple. There 
are no affected expressions, no bombastic phrases. 
His hymns are characterized by deep earnestness, 
dignity of expression, and smooth rhythm. His po- 
etic genius has much in common with Lyte’s. Just 
before breathing his last, he recited the third stanza 
of his beautiful hymn, “The King of Love my Shep- 
fends: 


Perverse and foolish oft I strayed, 
But yet in love He sought me, 

And on His shoulders gently laid, 
And home, rejoicing, brought me. 


44 





He has also composed a number of church melo- 
dies, , 


18 
O Holy Spirit, grant us grace. 
Gud Helligaand, i Tro os ler.—Landst. 27. 
Gott, heilger Geist, hilf uns, mit Grund. 
—B. RINGWALDT. 


INGWALDT, the author, has placed this 
hymn immediately after the Gospel hymn on 
_ Trinity Sunday. It is found in many older German 
hymnals, but has hardly enjoyed the recognition 
which has been accorded S6ren Jonass6n’s transla- 
tion by the Danish and Norwegian churches, where 
it has been in constant use in school and church 
work. It has been the first hymn taught to the 
child, and has formed a part of the last sigh of 
many a dying believer. (Skaar). Jonass6n’s trans- 
lation from 1693 entered unchanged into Kingo’s, 
Guldberg’s, Landstad’s, and Hauge’s editions, and, 
following this same translation, it appears in The 
Lutheran Hymnary, the English version by Rev. 
O. H. Smeby. (The Norwegian-American trans- 
lators who had a share in the preparation of The 
Lutheran Hymnary will be treated of later). 
Bartholomaus Ringwaldt, (Ringwald, Ringwalt), 
was born in Frankfurt an der Oder, November 28, 
1532. At 27 he began work as a minister. -In 
1566 he became Lutheran pastor of Langfeld, or 
Langenfeld, Brandenburg, where he labored until 
his death, presumably in 1599 or 1600. Ringwaldt 
exerted considerable influence both thru his sermons 
and thru his poems. He was a zealous and faithful 


45 


Lutheran and a good German patriot. He was a 
bold and aggressive worker and was not afraid 
to speak his mind. He was a keen observer and 
recognized clearly the need of his times. In his 
didactic poems, which were published in many edi- 
tions, he gave a number of very interesting sketches 
of his age. But he was also a pedagog, a school- 
master who could chastise; without regard for per- 
sons he swung the lash, and his own contemporaries 
in the ministry were often made to feel it keenly. 

In poetic power Ringwaldt resembled Luther. 
His best known hymn, “Es ist gewisslich an der 
Zeit,” ‘Det snart forvist paa Tiden er’ (Landst. 
573), has even been ascribed to Luther. Ringwaldt 
was one of the most prolific hymn writers of the 
16th century. Wackernagel attributes to him 208 
poems, of which 165 are hymns. In 1577 appeared 
his Der 91. Psalm neben sieben andern schonen 
Liedern; his Evangelia auff alle Sontag und Fest, 
durchs ganze Jahr, about the year 1582. It contains 
hymns based upon the Gospel lessons for all the 
Sundays and holidays of the year. Handbiichlein: 
geistliche Lieder und Gebetlein, etc., was published 
in 1586. All these were published in Frankfurt 
an der Oder. Several of his hymns are found scat- 
tered among his poems mentioned above (Warnung 
des Trewen Eckharts and Die lauter Wahrheit). 
A selection of 59 Geistliche Lieder was published in 
Halle, 1853. 

The melody, known in England as ‘“‘Luther” or 
‘‘Altdorf,” was very likely first printed in the Ge- 
sangbuch, 1529, but no copy is extant of this first 
edition. It is known first thru a later edition, — 
printed by J. Klug of Wittenberg, 1535, where it 


46 





was used as a setting for Luther’s first hymn, ‘““Nun 
freut euch, lieben Christen g’mein.”’ We are told that 
Luther heard it sung by ‘‘a traveller’? and copied it. 
It has been used several times at music festivals 
in England in connection with William Collier’s 
hymn of Doomsday (See under 604). 

Soren Jonasson, the Danish translator, was born 
in Aarhus, 1656. In 1691 he became pastor of 
Roskilde Cathedral. The same year he was re- 
quested to prepare a hymnal for the church and 
had the draft ready in 1693. This draft was not 
authorized for use, but eight of his translations 
were entered in Kingo’s Hymn Book. Sé¢ren Jo- 
nasson died at Roskilde May 27, 1717, while dean 
of Sommeherred (district). 


1 


Sing loud Hallelujah in jubilant chorus. 
Gladelig vil vi Halleluja kvede.—Landst. 512. 
Frolich wollen wy Alleluia singen.—Laudate 
dominum omnes gentes. 

—J. AGRICOLA. 


ee loud Hallelujah in jubilant chorus’ is 
based on the 117th Psalm. It was published 
in 1524, and is thus one of the oldest Lutheran 
hymns. In a collection entitled Een ny handbog, 
published in Rostock, 1529, there are two Danish 
. versions of Agricola’s hymn. One of these, thought 
to be Arvid Pedersgn’s version, appeared in Thom- 
isson’s Hymnal. The other, evidently Klaus Mor- 
tensgn’s, was used both by Thomissgn and Kingo. 
M. B. Landstad gave it a new Norwegian render- 


agit 





ing. The English translation in The Lutheran 
Hymnary is by Rev. Carl Dgving. 

Johann Agricola (Johannes Eisleben) was born 
April 20, 1492, in Eisleben, where his father was 
employed as a tailor. At an early age he was 
sent to school at Brunswick. In 1515 he came to 
Wittenberg and was received by Luther, who be- 
came interested in the talented young man. He 
spent several years in Wittenberg and was admit- 
ted into the household of Luther, who also secured 
for him a teachirg position at the university. He 
instructed a class in religion, for which purpcse he 
prepared a catechism. In 1519 he accompanied 
Luther to the disputation with Dr. Eck at Leipzig, 
and it is claimed that Agricola was appointed to re- 
cord the proceedings at this meeting. ‘The same 
year he and Melanchthon received the degree of bac- 
calaureus Bibliae at the University of Wittenberg. 
He was married in 1520 at Wittenberg. Luther, 
Melanchthon and other reformers were present at 
the wedding. 

After ten years of service in Wittenberg, he was, 
thru Lutheér’s influence, in 1525, given the position 
of rector of the school in Ejisleben, an institution 
lately established by Count Albrecht of Mecklen- 
burg. In connection with this position he should 
also serve as preacher and pastor of the church of 
St. Nicholas in Eisleben, and here he gathered a 
faithful congregation. He was, however, not con- 
tent with his position at the school, and in 1526 
he applied for a professorship at the university. 
But Melanchthon was chosen in preference to Agric- 
ola. Agricola was deeply offended. He was not 


48 
only disposed to be irritable and vain, but overesti- 
mated his own importance. 

His activity and behavior in later years was not 
altogether praiseworthy. It soon became apparent 
that he nourished a grudge against Melanchthon. 
The fact of the matter was, that Melanchthon and 
Luther had for some time observed with anxiety 
that as the Reformation progressed, many _ be- 
came followers for the simple reason that they 
wished to join the popular movement, and not out 
of personal conviction from the -Word of God. 
Indeed, many preachers proclaimed salvation thru 
faith alone, but this was often received as a mere 
external adherence to Reformation ideas, without 
particularly affecting the life of the people. Melanch- 
thon, accordingly, issued a circular letter wherein 
he admonished the Lutheran preachers not only to 
preach on faith, but also to encourage people to the 
confession of sin, repentance, and conversion, and to 
dwell upon the commandments of the Law. ‘The 
same thoughts were repeated in his articles of visi- 
tation in Saxony. Agricola criticized these very 
severely, and, at the same time, directed a violent 
accusation against Melanchthon personally, charg- 
ing him with abandoning the doctrine of justification 
by faith alone, and that Melanchthon was influenced 
again by the doctrine of the “‘work-righteousness”’ 
of Catholicism. Luther sought to put an end to this 
controversy and at the meeting in Torgau silenced 
Agricola. There is very little information in regard 
to Agricola’s activity during the next few years, 
except that he fell out with Duke Albrecht and was 
dismissed by him July 27, 1536. Even the same 
day Agricola went to Wittenberg, where Luther, 


+9 


thinking that he had bettered his ways, received him 
and his family into his household, and called him 
into consultation on the Smalcald Articles. More- 
over, the elector promised him an annual allowance 
for delivering certain lectures at the university. 

But in 1537 Agricola appeared in public with his 
perverted doctrine on the Law and thereby began 
the Antinomian controversy. Luther conducted 
five disputations with him, 1537-38, and forced him 
to retract his false teachings, and Luther was author- 
ized to draw up the statement of retraction for 
Agricola to sign. While this was going on he 
learned that Luther had censured him in a private 
letter to a friend, and in 1540 Agricola sent a com- 
plaint against Luther to the elector. The proceed- 
ings took a sad turn for Agricola, who was arrested 
and set free only upon the promise that he would 
not leave Wittenberg until the case had been tried 
and settled. Despite his promise he slipped away 
and came to Berlin. The elector Joachim II. be- 
came his protector, appointed Agricola court preach- 
er, and later superintendent. 

From that time on Agricola opposed Luther and 
the other reformers, and later became the leader 
in the preparation and carrying out of the Augs- 
burg Interim, which was chiefly a compromise be- 
tween Catholicism and the Reformation and a de- 
nial of the fundamental principles of the Reforma- 
tion. For this Agricola of course incurred the dis- 
pleasure of the reformers. He died September, 
1566. (H. Nutzhorn, from Herzog and Plitt). 

This hymn of Agricola’s in The Lutheran Hym- 
nary has not the same verse meter as in Landstad's 
Hymnal, and hence not the same melody. The 


50 


hymn in The Lutheran Hymnary has been set to 
Landstad’s melody for “I pregtige Himle og Jorden 
tillige’ (Landst. 201), while Agricola’s hymn in 
Landstad’s has a special melody by Lindeman. 


20 
When all He mercies, O my God. 
—J. ADDISON. 


pak original version of this hymn containing 
13 stanzas was first printed in The Spectator, 
No. 453, August, 1712. In this connection the 
author writes: “If we owe thanksgiving to our fel- 
lowmen, how much more, then, do we not owe 
thanksgiving to God! Our heavenly Father gives 
us, not only those gifts which come to us immediately 
from His hand, but also those that come to us thru 
the instrumentality of others. All good things 
which we enjoy, regardless of how we receive them, 
are gifts from His hand. He is the fountain of all 
good gifts and the Father of all mercies.” As 
Jonathan Crowther of Leeds, England, a minister 
famed for his learning and piety, lay upon his death- 
bed, one of his friends standing by reminded him 
of the Scripture passage: ‘‘Who can separate us 
from the love of Christ?’ Crowther answered by 
continuing the Scripture passage to the end, and 
then he added with deep emotion: 


When all Thy mercies, O my God, 
My rising soul surveys, 

Transported with the view, I’m lost 
In wonder, love, and praise. 


Thereupon he recited a part of the 23rd Psalm, 
and died with these words: “I am thankful.” 


51 


The melody of this hymn is classed among the 
oldest of English church tunes. It has been called 
‘“Winchester Old” and, was printed in 1592 by 
Thomas Este (Est), a London publisher (1588- 
1624). Hechanged his name to Snodham. In 1592 
he published a book with the following title: The 
Whole Book of Psalms with Their Wonted Tunes 
as They are Sung in Churches, Composed Into Four 
Parts. Este’s Psalter contains 57 melodies. Among 
the 9 new melodies entered are ‘‘Winchester Old”’ 
and ‘‘Windsor.” 

Joseph Addison, son of the Episcopal minister, 
Lancelot Addison, (rector of Milston and later 
dean of Lichfield) was born in Milston May 1, 
1672. His mother was a sister of William Gulston, 
bishop of Bristol. The son received his education 
at Charterhouse and Magdalen College, Oxford; 
B. A., 1691; M. A., 1693. It was the intention that 
he should become a minister, but the young man 
chose to study law and politics, and thru the as- 
sistance of influential friends he soon rose to po- 
sitions of importance. He began as secretary of the 
court of appeals. Later he became assistant secretary 
of state. In 1710 he was made secretary to the 
Lord Lieutenant of Ireland, and in 1717 chief secre- 
tary for Ireland. He was married in 1716 to 
Charlotte, the Duchess of Warwick. Together 
with Sir Richard Steele he founded The Spectator, 
and it is chiefly thru his contributions to this paper 
and thru his essays in The Tattler, The Guardian, 
and The Freeholder, that he gained his fame. His 
hymns were printed in The Spectator. Addison 
suffered from asthma and dropsy and died at the 
age of 47, June 17, 1719. He invited the Duke 


52 


of Warwick to his bedside to show him that a 
Christian can die in peace. 


21 


From all that dwell below the skies. 
—Isaac WATTS. 


i Pais hymn by Isaac Watts appeared in his 
Psalms of David, 1719. It is a metrical ver- 
sion of the 117th Psalm, and is used thruout all 
English speaking countries. It has been translated 
into many languages. Bingham translated it into 
Latin in 1871. In John Wesley's Pocket Hymnary 
this hymn appears with an added double stanza, 
and this form of the hymn has been employed in 
many hymn books. Other hymnals have taken only 
one of the added stanzas of John Wesley’s, and 
have added Bishop Ken’s doxology, ‘‘Praise God, 
from whom all blessings flow.” (For notes on the 
melody, see No. 1.) : 


22 


Jesus, Sun of righteousness. 
Morgenglanz der Ewigkeit. 
—C. K. von ROSENROTH. 
| Ras is a free translation of the popular Ger- 
man hymn, ‘‘Morgenglanz der Ewigkeit,” 
which appeared in seven six-lined stanzas in Geist- 
liche Sittenlieder,’ published by the author, 1684, 
in Nurnberg. The meter is different from that of 
the original (L. H. 548). It is held that the hymn 
is based on a poem by Opitz. One writer describes 
this hymn as one of the heartiest, most original, and 


53 
most spiritual morning hymns; it seems to have been 
“born like the dew out of the morning dawn.” This 
must have been the viewpoint also in England, as 
there are at least 14 English translations, of which 
number, 10 are in use by the various churches. The 
melody (used in L. H.) by L. M. Lindeman was 
composed for Grundtvig’s hymn, ‘‘Peace to soothe 
our bitter woes.” The English translation is by 
Miss Jane Borthwick of Edinburgh (1813-1897). 

Christopher Knorr von Rosenroth, a learned 
German theologian, Orientalist, and hymn writer, 
was born in Altranden, Silesia, July 15, 1636. He 
was educated in Leipzig and Wittenberg; later he 
traveled in France, England, and Holland. On 
these travels he met Dr. Henry More, Rabbi Meier 
Stern, and Dr. John Lightfoot, and was induced by 
them to study alchemy, Oriental languages, and 
especially Kabbala (the oral tradition of the Jews, 
transmitted from Adam; the secret wisdom of the 
Rabbis).* Thru these studies Rosenroth came in 
touch with Palsgrave Christian August, who in 1668 
appointed him prime minister and privy councillor. 
In 1677 he was created baron by Emperor Leopold 
I. Rosenroth strove to harmonize the doctrines of 
Kabbala and Christianity. His monumental work, 
Kabbala Denudata, Sulzbach, 1677, made him 
world-famous. He ranks high as a writer of hymns. 
His hymns were published in 1684 under the title: 
Neuer Helicon mit seinen neuen Musen, das ist: 
Geistliche Sitten-Lieder. ‘This volume contained 
70 hymns, of which a few are translations from 


*Kabbala means, in this connection, the Jewish mystico-the- 
osophic philosophy of religion; it arose from a desire for a 
deeper religious consciousness, as mysticism in Christianity. 


54 

the Latin, others are versions of old German hymns. 
Sixteen of Rosenroth’s hymns were taken up by 
Freylinghausen in his hymnal, published in 1704, 
and again in 1714. The hymnologist Hoch says of 
Rosenroth’s hymns that they are the product of a 
noble, pure, and deep mysticist, with a truly poetic 
sentiment, and a fervent desire for union with 


Christ. Rosenroth died in 1689. 


23 


Praise ye Jehovah, praise the Lord most holy. 
—Lapy COCKBURN-CAMPBELL. 


ADY MARGARET COCKBURN-CAMP.- 
BELL, oldest daughter of Sir John Malcolm, 
was married in 1827 to Sir Alexander Thomas 
Cockburn-Campbell, one of the founders of the 
Plymouth Brethren of England. He died in Alp- 
ington, near Exeter, 1841. Her hymns were litho- 
graphed from her manuscripts for private use. A 
few of them were printed in the hymnal of the 
Plymouth Brethren, Psalms and Hymns, London, 
(1842. “Praise ye Jehovah,” is her best known 
hymn. ‘The melody, called “Jehovah” or ‘Wor- 
ship,’ by Edward John Hopkins (1818-1901), 
church composer and organist of London, was very 
likely composed for this hymn. 


ae 


24, 


Our thanks and praise to Thee be given. 
Dicimus grates tibi, summe rerum. 
—PuHILip MELANCHTHON. 


(| Be hymn was first printed as No. 1 of De 
Angelis Duo Hymni, Wittenberg, 1543. It ap- 
peared in 10 four-lined stanzas. It was again pub- 
lished the following year in Psalterium Davidis, 
Wittenberg, 1544. In Corpus Reformatorum and 
in Wackernagel’s edition it has 11 stanzas. It was 
translated into German by Paul Eber and printed 
in Nurnberg, about 1554, Ein schén Geistlich Lob- 
sang: Herr Gott, dich loben alle wir. Later it ap- 
peared in J. Eichhorn’s Gesangbuch, Frankfurt an 
der Oder, 1561. There are four English transla- 
tions. Our English version (L. H. 24) is by Dr. 
Joseph A. Seiss, and was published in 1890, in the 
Sunday school book of the General Council. Me- 
lanchthon wrote a few Latin hymns, but did not 
produce anything further of importance in Lutheran 
hymnology. 


29 
Jesus, Lord of life and glory. 
—J. J. CumMINs. 

A LENTEN hymn, based on the 17th verse of 

the 119th Psalm. It is one of the most popu- 
Jar hymns of Cummins and has found a place in 
many hymnals. In some books the first line has 
been changed so as to read, “Jesus, Lord, we kneel 
before Thee.” 


John James Cummins was born in Cork, Ireland, 


56 





1795, the son of a merchant. In 1834 he moved 
to London, where, for a number of years, he served 
as director of a bank. His death occurred in 1867. 
Cummins spent a good share of his time studying 
Greek and theology. He wrote Seals of the Cove- 
nant Opened in the Sacraments, 1839, especially for 
the use of his own children during their preparation 
for confirmation. In the same year his Poetic Medi- 
tations and Hymns were printed. In 1849 an en- 
larged edition known as Lyra Evangelica was pub- 
lished in London. 

The melody, St. Raphael (or St. Giles), by E. 
J. Hopkins, was first published in Temple Choral 
Service, 1867, and appeared there as the setting 
for this hymn under the first mentioned title, “Jesus, 
Lord of life and glory.” 


26 


Give praise to God our King. 
—A. T. RUSSELL. 


RTHUR FOZER, RUSSEL was) bom ean 
Northampton, March 20, 1806. He was the 

son of a Dissenter minister, William Russell, who 
preached in Enfield and London. The son received 
his early education in St. Savior’s School of South- 
wark and the Merchant Taylors’ School of London. 
In 1822 he came to Manchester College, York, and 
completed his education in St. John’s College, Cam- 
bridge. Here he received a prize for his treatise, 
The Law Our School-Master to Bring Us to Christ. 
In 1829 he was ordained by the bishop of Lincoln, 
and from 1830 to 1852 he served as vicar of Cax- 
ton, Cambridge. During this period he wrote ex- 


57 
tensively on theological themes. About 1840 he 
published Hymn Tunes, Original and Selected. 
Many of his original hymns, together with trans- 
lations from the German, appeared in Hymns for 
Public Worship, 1848, Dalston Hospital, London. 
In 1847 Christian Life was published, and in 1851 
his edition of Psalms and Hymns. His original 
hymns and translations have been included in sev- 
eral hymnals. A great number of them appeared 
in Dr. B. H. Kennedy's Hymnologia Christiana, 
1863. He has also composed melodies which are 
in use. His hymn poems are characterized by re- 
ligious fervor and deep piety. He wrote in all up- 
wards of 140 hymns. After serving at Whaddon; 
at Toxteth Park, near Liverpool; and at Wrock- 
‘wardine Wood, he finally removed to the rectorship 
of Southwick, near Brighton, where he died Novem- 
ber 18, 1874, after a protracted illness. 

The melody for the above-mentioned hymn is sup- 
posed to have been composed by Hartnack Otto 
Konrad Zinck (1746-1832). It appeared first in 
Zinck’s Choralbuch, Copenhagen, 1801. This vol- 
ume contained the melodies for The Evangelical 
Christian Hymnary. 


20 


Rock of Ages, cleft for me. 
—A. M. Top .apy. 
4 Rokaty hymn was first printed in the Gospel 
Magazine for October, 1775, and again, tho 
somewhat varied, in Psalms and Hymns, published 
by the author in 1776. “Rock of Ages’’ has shared 
the fate of many hymns in that it has undergone 


58 





many changes and “improvements.” Many authors 
have worked over it and revised it for various 
hymnals. ‘The best version is possibly the one by 
Thomas Cotterill (1779-1823). This found a place 
in several hymn collections. At a church meeting 
in York, 1866, Sir R. Palmer (Lord Selhorne) pro- 
tested vigorously against the practice of revising 
Toplady’s hymn. It had its intended effect. Af- 
ter that time there has been a return to the re- 
vised version of Toplady’s own Psalms and Hymns. 
The only departure from the original in ours and 
most other hymnals is in the line, ““When my eye- 
strings break in death.” Cotterill changed this to, 
‘‘When mine eyelids close in death.” Up to 1810 
this hymn was not used very extensively. But later 
on it has been included in nearly all English hymn 
books. It has been translated into many languages. 
In 1840 Gladstone prepared a Latin version: ‘‘Je- 
sus, pro me perforatus.” ‘This was printed in 1861. 
In the year 1890 it was translated into no less than 
seven Latin versions. Dr. Pomeray tells of his visit 
in an Armenian church in Constantinople. The 
people were moved to tears during the singing of 
a certain hymn. Upon inquiry he found that they 
were singing a Turkish translation of ‘Rock of 
Ages.’’ Mrs. Lucy Bainbridge, on her travels in 
China, met a native Chinese woman of 80 years. 
She had been converted to the Christian faith and 
sang with deep emotion in her own language these 
lines: ‘Nothing in my hand I bring, Simply to Thy 
cross I cling.’’ Spurgeon says, “‘A glimpse at the 
thorn-crowned head and pierced hands and side is 
a sure cure for ‘modern doubt,’ and all its vagaries. 
Get into the ‘Rock of Ages, cleft for you,’ and you 


59 


will abhor the quicksand.” This was also the 
favorite hymn of Prince Albert of England, prince 
consort of Queen Victoria. He turned to it con- 
stantly upon his deathbed: ‘‘For,” said he, ‘‘if in 
this hour I had only my worldly honors and dig. 
nities to depend upon, I should be indeed poor.’ 
Many similar incidents might be mentioned. Julian, 
the noted hymnologist, says: ‘‘No other hymn has 
to such a degree been able to grip and stir the hearts 
of the English-speaking world.” 

The first melody (L. H.), called ‘‘Gethsemane,”’ 
Redhead, 1876, was composed in 1853 by Richard 
Redhead, born 1820. He was an English composer 
and organist. ‘This melody is used chiefly in Eng- 
land. The second melody, ‘“Toplady,’ used in 
America, is by Thomas Hastings, a musician and 
prominent hymn writer of Utica, N. Y. The sec- 
ond melody dates from 1830. (See notes on Hast- 
ings, No. 112.) 

Augustus Montague Toplady, the son of Major 
Richard Toplady, was born in Farnham, Surrey, 
England, 1740. His father died soon after. His 
mother sent him to the Westminster School of Lon- 
don. Owing to circumstances his mother removed 
to Ireland, and Augustus continued his studies at 
Trinity College in Dublin. Toplady has related 
how he became a child of God during the stay in 
Ireland. He was at that time 16 years of age. It 
was indeed peculiar, he says, that he, who had for 
so long a time been under the influence of the Word 
of God in England, should thus be brought to God 
in that secluded district of Ireland, where a hand- 
ful of people were gathered in a granary, and where 
the service was conducted by a man who could 


60 


scarcely spell his own name. (Here, however, Top- 
lady is mistaken, as the minister to whom he refers 
was none other than the famous Methodist preach- 
er, James Morris). 

When he was between 15 and 18 years of age | 
he began to write poetry. His early poems were 
printed in Dublin in 1759. At the age of 22 he 
was ordained in Trinity Church. When he was to 
subscribe to the Church Articles, the Homilies, and 
the Liturgy, he signed his name five times to show 
his ardor and sincerity in taking the oath of ordina- 
tion. He was first appointed curate of Blagdon. In 
1768 he became vicar of Broadhambury. Here he 
received an annual salary of 80 pounds. “It was 
his life’s ambition,” says his biographer, Mr. Sedg- 
wick, ‘‘to be able to deserve the most, but to be con- 
tent with the least.’’ Toplady had a very weak con- 
stitution. He was a zealous worker who often em- 
ployed the hours of the night for study. The symp- 
toms of disease developed into tuberculosis of the 
lungs. In Broadhambury he published his Psalms 
and Hymns in 1776. Shortly afterwards he moved 
to London, where he became pastor of the French- 
Calvinistic Church in Leicester Fields. 

Toplady was an ardent Calvinist and was at times 
inconsiderate and unfair over against his opponents 
or people of other churches. His chief opponents 
were the Wesley brothers and the Methodists. His 
doctrinal controversy with John Wesley developed 
into personal attacks by both men, and neither of 
them came out with glory. It shows how the best 
and most sincere Christians may forget themselves 
in the heat of the battle and give the Old Adam free 
rule over their heart and mind. Toplady called 


61 


Wesley “Pope John” and said that he wrote ‘“‘a 
known, wilful, and palpable lie to the public.” John 
Wesley declared solemnly that he would not fight 
with chimney sweeps, “‘he is too dirty a writer for 
me to meddle with,” etc. The dust of many years 
has long since settled upon this controversy. Still 
the immortal hymn “Rock of Ages’’ must be con- 
sidered as a part of the contribution to the contro- 
versy, which is indicated by the title given to it, 
namely, “A living and dying prayer for the holiest 
believer in the world,” thereby aiming at the Meth- 
odist doctrine of personal perfection. But the 
Methodists prize it very highly, and the hymn is to 
be found in all the leading Methodist hymnals. 

A History of Hymns, published in connection 
with The Methodist Hymn Book, says: ‘‘Toplady 
lived a God-fearing and holy life; his hymns breathe 
a spirit of heavenly devotion and are filled with the 
joy of faith, praise, and prayer, and his departure 
from this life into the heavenly mansions was beau- 
tiful and triumphant.” 

Toplady died August 11, 1778, 38 years of age. 
He called himself the happiest man in the world. 
As a child longs for father and mother and hopes 
to see them, he lay upon his deathbed, rejoicing in 
faith, waiting to be called home. ‘‘Sickness is no 
trial; pains are no misfortune; death is no separa- 
tion; the heavens are clear; there are no clouds over- 
‘head. Come, Lord Jesus, come soon!” Shortly 
before his eyes were closed in death, he said: ‘It 
will not be long before God takes me, for no 
mortal man can live after the glories which God 
has manifested to my soul.” His famous hymn, 
“Rock of Ages,” has brought comfort to millions of 


62 


many generations. It is the most favored and most 
extensively sung of all the hymns in the English 
language. He wrote many more hymns, several 
of which rank above ‘‘Rock of Ages” considered 
mainly from the literary and aesthetic viewpoint, 
but it seems that the grand inspiration of his life 
outshines all other hymns which he produced, the 
only things it gathers imits light is his name and the 
memory of his triumphant “going home to heaven.” 

We append the first stanza of Gladstone’s Latin 
version. 


Jesus, pro me perforatus, 
Condar infra tuum latus. 

Tu per lympham profeuentem, 
Tu per sanguinem tepentem 
In peccata me redunda 

Tolle culpam, sordes munda. 


28 


Give to our God immortal praise. 
—I. Watts. 


| Ras hymn was composed upon the text of the 
136th Psalm. It was printed in Watts’ Psalms 
of David, 1719, and contains eight stanzas. .The 
fifth and the sixth stanza of the original have been 
omitted. : 

The melody (Duke Street) is by John Hatton of 
Warington. Later he moved to St. Helens, where 
he died in 1793. The tune has been given the name 
of the street where the composer dwelt. It ap- 
peared in print in 1790. 


63 


29 


May God bestow on us His grace. 
Nu er os Gud miskundelig.—Landst. 28. 
Es wollt uns Gott genadig seyn. 
—M. LUTHER. 


4 ie 67th Psalm furnished the inspiration for 
this hymn by Dr. Martin Luther. It was evi- 
dently printed in 1523-1524 in a leaflet together 
with “Aus tiefer Noth” (Out of the depths I cry 
to. Thee. 41.273), and shortly ‘after! the’ text 
was published in Luther’s Ein weyse Christliche 
Messe zu halten und zum Tisch Gottis zu gehen, 
Wittenberg, 1524. The same year it was also pub- 
lished in Eyn Enchiridion; from this it passed into 
all the German hymnals. Klaus Mortens¢n trans- 
lated it into Danish and added a closing stanza 
(see Landst. 28). ‘This version was used in the 
Malmé Hymnary of 1533 and later in the editions 
of H. Thomissgn, Kingo, and Pontoppidan. Land- 
stad’s and Hauge’s versions are somewhat different. 
The revised hymn book of the former Norwegian 
Synod follows in the main Mortensgn’s translation. 

In connection with this hymn the story is told 
from Magdeburg that one of the citizens, an old 
clothier, gathered people in the marketplace by 
singing and selling this hymn together with the com- 
panion hymn, ‘‘Out of the depths I cry to Thee.” 
The burgomaster had him arrested, but he was re- 
leased following a demonstration of protest staged 
by the citizens. Two months later the people of 
Magdeburg put thru the Reformation in their city. 
The hymn was sung by the army of Gustavus 


64 


Adolphus on the morning of the battle of Lutzen, 
November 6, 1632. Both this hymn and “‘A Mighty 
Fortress is our God’’ were sung to the accompani- 
ment of trumpets and kettle-drums. Ludvig Hol- 
berg relates that the hymn was sung by a child dur- 
ing the night before the introduction of the Ref- 
ormation in Helsingér. ‘The hymnologist, James 
Mearns, says that Luther remodeled the Old Testa- 


ment Psalm into a New Testament missionary hymn. 


and adds, “It was therefore fitting that it should 
be sung at the opening service during the dedication 
of the mission church in Trichinopoli, India, July 11, 
1792.3)" The» service (was) conducted iby WC. ue 
Schwartz.”’ 

Besides 14 English translations there are numer- 
ous versions in Danish, Norwegian, Swedish, Ice- 
landic, French, Portuguese, Latin, and other lan- 
guages. he version in The Lutheran Hymnary is 
by Richard Massie, born 1800, in Chester, England. 
In 1854 he published in London Martin Luther's 
Spiritual Songs. His Lyra Domestica, London, 
1860 and 1864, contains Spitta’s and other German 
hymns in English translation. He also translated 
many German hymns for Mercer’s Church Psalter 
and Hymn Book. Massie died March 11, 1887. 

The melody used for this in The Lutheran 
Hymnary was composed by Luther’s friend and as- 
sistant in music, Johann Walther. Walther wrote 
the melody as a setting for Luther’s first hymn, ‘‘Ein 
neues Lied wir heben an,” where the glorious death 
of the two Dutch martyrs is described (see below). 
The committee for The Lutheran Hymunary selected 
this melody for ‘‘May God bestow on us His grace,” 
as being best adapted for use in our congregations. 


65 


The old melody commonly used for this hymn ap- 
peared first in Teutsch Kirchenampt, Strassburg, 
1524, and has since that time been connected with 
this hymn (see Lindeman’s Koralbog, the United 
Church edition, 122). 

Martin Luther (1483-1546), German  re- 
former, was born in Eisleben, the son of Hans and 
Margarete Ziegler (Lindemann?) Luther. His 
parents were miners. In 1484 they removed to 
Mansfeld, where the father became a prominent 
citizen. The training in the parental home was very 
strict and the son was kept rigidly at his studies. 
He received his early education in Mansfeld, Mag- 
deburg, and Eisenach. In 1501 he became a stu- 
dent at Erfurt. His father decided that he should 
study law, but Luther, suffering from anguish of 
conscience, entered the Augustinian cloister at Er- 
furt in 1501. In 1507 he was ordained. While in 
the cloister he showed great zeal both in acts of 
penitence and in the study of the Holy Scriptures, 
which he here learned to know for the first time. 
But he suffered still from remorse of conscience. 
For this the vicar-general Staupitz gave him great 
comfort. Staupitz brought Luther to the attention 
of Elector Friedrich the Wise, who procured for 
him a professorship at the university of Wittenberg 
in 1508. 

In 1511 Luther went on his famous journey to 
Rome. In 1512 he was created doctor of theology. 
His religious views began to ripen and take form as 
he studied the Letter to the Romans, the. Psalms, 
Augustine, Bernhard, and the German mystics. 
Righteousness by faith now became the central doc- 
trine of his theology. 


66 


Then came his public declaration against the | 
selling of indulgences. In the 95 theses, nailed on 
the church door at Wittenberg, October 31, 1517, 
he challenged the pope’s authority to remit punish- 
ment except that which he had himself ordered. 
This caused a great sensation; Luther had had the 
courage to come out openly and express an opinion 
which already had been nourished by many. The 
pope tried in vain to silence Luther, first thru Car- 
dinal Cajetan (Augsburg, 1518), then thru his 
chamberlain Miltitz (Altenburg, 1519). At the 
disputation with Eck (Leipzig, 1519) it appeared 
that Luther’s views on the authority of the pope 
were entirely different from that held by the Cath- 
olic Church. | 

In the meantime Luther was supported by his 
colleagues, especially Melanchthon, by the elector 
and many of the humanists, as Hutten and Crotus, 
and by the common people. In 1520 the main 
Reformation writings appeared: To the Christian 
Nobility, emphasizing the universal priesthood of 
all believers; The Babylonian Captivity with its new 
conception of the sacraments; and Christian Liberty. 
On January 3, 1520, Luther was placed under the 
ban of the Church. In 1521 he was cited to appear 
before the Diet of Worms, where he was asked to 
retract all his writings. Upon his determined re- 
fusal to do this (April 18), he was declared (May 
25) also under the ban of the empire. 

The elector had, however, prepared a place of 
safety for Luther at Wartburg, where he found 
time and peace to translate the Bible for his people. 
March 7, 1522, the fanaticism of Carlstadt drew 
him again to Wittenberg. He now began to or- 


67 





ganize the work of the church and the order of 
service. During this period he also wrote many 
of his powerful hymns. 

In the following year the humanists (Erasmus), 
the fanaticists (Carlstadt, Mtinzer), and the peas- 
ants (Peasants’ War, 1524-1525) deserted the 
cause of Luther. Thru his action during the war 
Luther strengthened the position of the rulers. 

On June 15, 1525, he married a former nun, 
Katharina von Bora. During the following year 
he visited the congregations in Saxony, for whom 
he wrote the Small Catechism. During the years 
1526-1530 there arose the controversy with the 
Swiss reformers, especially with Zwingli, who so 
far disagreed with the Lutherans on the doctrine 
of the Lord’s Supper that Luther at the conference 
at Marburg, 1529, declared openly, ‘Ye are of a 
different spirit from us.’ During the Diet of Augs- 
burg, 1530, Luther followed the proceedings from 
his retreat at Coburg. Thus it came to pass that, 
while the Augsburg Confession contains the funda- 
mental ideas of Luther, it was given its form under 
the painstaking hand of Melanchthon. 

Luther’s polemics did not grow milder as he 
ripened in years. Even in 1545 he wrote about the 
Papacy at Rome, Founded by the Devil. His many 
letters to his wife and children prove that his do- 
mestic life was very happy. During his later years 
he grieved over the fact that the Gospel of Christ 
bore so little fruit. 

His Table Talks show him to have been a prince 
of entertainers, both along the line of mirth and in 
serious conversation. Death overtook him upon a 
journey which he made in an attempt to reconcile 


68 


the counts of Mansfeld. He died in his home 
town of Eisleben. He was buried in the castle 
church of Wittenberg. 

Luther was a spiritual giant, great in the fearless 
fight which he waged, and great in true conserv- 
atism. Personally he was the incarnation of the 
strength of the German people. He was a master 
of language, both written and spoken. His transla- 
tion of the Bible alone would have established his 
fame. He was exceptionally earnest and sincere. 
The desire of his heart caused him to enter the 
cloister; but the constant faith of his heart led him 
forth again from the cloister into active life, and 
this experience of his heart, based upon the testi- 
mony of Scripture, he made the firm foundation 
upon which he took his stand in defiance of all hu- 
man onslaughts. His strong realistic tendency 
might at times verge on coarseness, but we see in 
it simply a frank protest against vain sentimental- 
ism, against affectedness and vacillation. The 
quadri-centennial of Luther’s birth was celebrated 
in 1883 by Lutheran churches over the whole world. 


LUTHER’S HYMNS 
ORIGINAL 


1. Eines neues Lied wir heben an. 


2. Erhalt uns, Herr, bei deinem W ort. 
Hold oppe, Gud, hos os dit Ord. Landst. 29. 
Lord, keep us steadfast in Thy word. L. H. 138. 


3. Jesus Christus, unser Heiland, der den Tod. 


4. Nun freut euch, lieben Christen g’ mein. 


(Nu fryde sig hver kristen Mand.) 


69 


Nu kjare menige Kristenhed. Landst. 9. 
Dear Christians, one and all rejoice. L. H. 526. 


BASED ON LATIN OR GERMAN ORIGINALS 


5. Christ lag in Todesbanden. 
Den Herre Kristi Dédens Baand. Landst. 342. 


Christ Jesus lay in death’s strong bands. 
| bay ila bal 6 poi 


6. Jesus Christus, unser Heiland, der von uns. 


7. Verleth uns Frieden gnadiglich. 


HYMNS REWRITTEN, SOME OF THEM DIRECT TRANS- 
LATIONS, OTHERS ENLARGED FROM LATIN 


8. Christum wir sollen loben schon. 
Saa langt som Himlens Hvelving naar. 
Landst. 295. 
From east to west, from shore to shore. 


|B ma bee Rh 


9. Der Du bist Drei in Einigkeit. 
O hellige Treenighed. Wandst. 85. 


10. Gelobet seist Du, Jesus Christ. 
Du vare lovet, Jesu Krist. Landst. 133. 
O Jesus Christ, all praise to Thee. L. H. 184. 


11. Komm, Gott Schopfer, heiliger Geist. 
Kom, Helligaand, med Skabermagt. 
| Landst. 209. 
Come, Holy Ghost, Creator blest. L. H. 355. 


12. Komm, heiliger Geist, Herr Gott. 
Kom, Hellige Aand, Herre Gud. Landst. 429. 
Come, Holy Spirit, God and Lord. L. H. 375. 


70 


Ua 


ihe 


16. 


7s 


18. 


ith) 


20. 


. Mitten wir im Leben sind. 


Midt i Livet ere vi. Landst. 223. 
Tho in midst of life we be. L. H. 240. 


Nun komm, der Heiden Heiland. 
Kom, du Folke-Frelser sand. Landst. 141. 
Come, Thou Savior of our race. L. H. 186. 


Was fiircht’st du, Feind Herodes sehr. 


Herr Gott, dich loben wir. 
O store Gud, vi love dig. Landst. 10. 


Thee God we praise, Thy name we bless. 


La Eteh 


HYMNS BASED ON OLD GERMAN ORIGINALS 
Gott der Vater, wohn uns bet. 


Gott sei gelobet und gebenedeiet. 
Gud vere lovet evig nu og priset. Landst. 69. 
May God be praised henceforth. L. H. 156. 


Nun bitten wir den heiligen Geist. 
Nu bede vi den Helligaand. Landst. 3. 
O Holy Ghost, to Thee we pray. L. H. 39. 


HYMNS BASED ON PSALMS 


Ach Gott, vom Himmel sich darein. Psalm 12. 
O Gud, av Himlen se hertil. Landst. 497. 
Look down, O Lord, from heaven behold. 

UTE) Nn A 


. Aus tiefer Noth schrei ich zu dir. Psalm 130. 


Af Dybsens Noéd jeg raabe maa. Landst. 273. 
Out of the depths I cry to Thee. L. H. 273. 


. Ein’ feste Burg ist unser Gott. Psalm 46. 


Vor Gud han er saa fast en Borg. Landst. 266. 


Poy, 


24. 


LY 


26. 


fe 
30. 


alt 


32. 


71 


A mighty fortress is our God. L. H. 270. 


Es spricht der Unweisen Mund wohl. 
| Psalm 14. 


Es wolt uns Gott genddig sein. Psalm 67. 
Nu er os Gud miskundelig. Landst. 28. 
May God bestow on us His grace. L. H. 29. 


War’ Gott nicht mit uns diese Zeit. Psalm 124. 
Var Gud ei med os denne Tid. Landst. 555. 
Had God not come, may Israel say. L.H. 527. 


Wohl dem der in Goties Furcht steht. 
Psalm 128. 


HYMNS BASED ON OTHER SCRIPTURE PASSAGES 
27. 
28. 


Jesaia, dem Propheten, das geschah. Is. 6:1-4. 


Mit Fried’ und Freud’ ich fahr dahin. 
| Luke 2 :29-32. 
Med Fred og Glade far jeg hen. Landst. 162. 


Sie ist mir lieb die werthe Magd. Rey. 12:1-6. 


Vom Himmel hoch da komm ich her. 

Luke 2:8-12. 
Fra Himlen hgit jeg kommer her. Landst. 129. 
From heaven above to earth I come. L. H. 181. 


Vom Himmel kam der Engel Schaar. 
Luke 2:10-11. 
Fra Himlen kommer Engleher. Landst. 145. 


HYMNS BASED ON PARTS OF THE CATECHISM 


Christ unser Herr zum Jordan kam. 


Kristus kom selv til Jordans Flod. Landst. 260. 


72 


33. Dies sind die heiligen Zehn Gebot. 
34. Mensch, wilst du leben seliglich. 


35. Wir glauben all an einen Gott. 
Vi tro og tr¢ste paa en Gud. Landst. 12. 
We all believe in one true God. L, H. 71. 


36. Vater unser im Himmelreich. 
O Fader vor i Himmerig. Landst. 14. 
Our Father, Thou in heaven above. L. H. 359. 


It is difficult, not to say impossible, to classify 
Luther’s hymns. In the foregoing list, prepared 
by a Lutheran hymnologist, only four hymns are 
mentioned as original with Luther. In reality many 
more deserve to be listed as original, when we con- 
sider how the spirit of Luther has adapted and ar- 
ranged the material of many hymns and impressed 
the stamp of his personality upon them. The best | 
church hymns as well as our sermons are associated | 
with passages from the Holy Scriptures. But just) 
the same the hymn or sermon may be original to. 
an eminent degree and at the same time be truly 
Biblical. “A mighty fortress is our God,” is based’ 
upon the 46th Psalm, but employs very few of the’ 
words or expressions of the Scripture text. Yet! 
this hymn must surely be said to be both Biblical | 
and at the same time be Luther’s own, original, and 
characteristic poetry. James Mearns has listed the 
following as original with Luther: 


Christ lag in Todesbanden (partly based on an older 
Faster hymn). 
Christ unser Herr zum Jordan kam (based on 


Mark 1:9-11). 


73 


Ein neues Lied wir heben an. 

Erhalt uns, Herr, bei deinem VW ort. 

Jesus Christus, unser Heiland, der den Tod. 

Nun freut euch, lieben Christen g’ mein. 

Vom Himmel hoch da kam ich her (Luke 2:10-16). 
Vom Himmel kam der Engel Schaar. 


Luther loved the Church and language of his 
fathers. He loved the hymns and the music of the 
Church and often expressed his esteem and even 
admiration for the great poets and musicians of 
the Church. - He loved the hymns of the ancient 
Church and praised especially the use of the Latin 
language for its fine tone and musical cadence, and 
expressed the wish that the youth of his time might 
be trained in the language of the ancient Church. 
For this purpose he retained many of the four- 
part choir songs with Latin texts. He did not con- 
sider himself proficient enough to render these 
glorious hymns into his mother tongue, still less did 
he feel that he could create anything new to take 
their place. He considered the Church as a large 
garden where, thru lack of care, many kinds of 
weeds are threatening to choke the good seed, and to 
destroy the tender shoots and the fragrant flowers 
that are left. But he loved this old garden, and 
like a wise, cautious, and conservative gardener, he 
hoped to pluck out the tares, and plant the good 
seed in places where the weeds before had made 
the ground unfruitful, then to cleanse, water, and 
care for it. In other words, as a true child of the 
Church, he wished to preserve, ennoble, and enrich 
the better portion of the heritage received thru his 
Church. 


"his 


He realized fully the importance of providing 
suitable hymns in the language of the people. He 
had possibly made various attempts, but he felt that 
he himself was no poet; others more talented would 
have to supply this need of the Church. But at 
this time an event took place which gave impetus 
to Lutheran church song. In the Netherlands the 
Lutherans had gained a great following, but they 
were hard pressed by their enemies. Especially was 
this the case with the monks of the Augustinian 
cloister of Antwerp, where all who would not re- 
tract their Lutheran convictions were cast into 
prison. 

Among these prisoners were the two youths Hein- 
rich Voes and Johannes Esch (Esche). ‘Together 
with the prior of the abbey they were brought to 
Wierwoerde, near Brussels, and brought to trial be- 
fore the inquisition of the Dominicans. ‘They re- 
mained true to their confession and were placed in 
the prison at Bruges. July 1, 1523, Heinrich Voes 
and Johannes Esch were condemned to die. When 
their gowns had been removed the inquisitor an- 
nounced that he still had power to set them free if 
they would recant. But they declared stoutly that 
they rejoiced to pass out of this world and to be 
with Christ. Having been clad, one in a black, the 
other in a yellow cloak, they were led to the stake. 
The four ‘“‘confessors” burst into tears as they saw 
the courage and cheerfulness of the youths, but the 
two martyrs said to them that they should rather 
weep over their own sin and because righteousness 
was being mocked. Surrounded by flames they re- 
cited the Apostles’ Creed and sang the famous Latin 
hymn ‘““Te Deum Laudamus.” (‘Thee God we praise, 


75 


Thy name we bless. Landst. 10; L. H. 1). Soon 
they perished in the flames. 

The inquisition had done its work, but its first 
Lutheran victims had entered into their glory. The 
third victim, the prior of the abbey, was choked 
to death in the prison cell shortly afterwards. The 
tidings of their martyr death spread from city to 
city, until it also reached Luther and the reformers. 
Luther sent a letter of consolation to the congrega- 
tions of Holland, Brabant, and Flanders. 

It has been said that the blood of the martyrs is 
the seed of the Church. ‘These youthful martyrs 
faced death with the song of praise upon their lips 
—the most glorious hymn of the ancient Church. 
From this ‘*Te Deum” thousands of hymns were 
born, and like carrier doves they brought the glad 
‘tidings of the Gospel to many lands. From the 
ashes of the two Dutch youth there arose, Phoenix- 
like, a new “Te Deum,” the new song of the Refor- 
mation. As Heinrich Voes and Johannes Esch passed 
‘into Paradise with songs,” a fountain of song was 
opened in the Lutheran Church, and especially in 
Luther’s own bosom. He now wrote his festival 
hymn commemorating the death of the two Lu- 
theran martyrs, ‘‘Ein neues Lied wir heben an.” The 
melody (L. H. 29) for this hymn was composed by 
Johann Walther, who was a member of Duke Frede- 
rick’s choir. ‘The same year it was published in 
pamphlet form. ‘The following year it appeared in 
the Erfurt Enchiridion. It is not strictly a church 
hymn, but it sings of springtime and announces that 
the summer is drawing nigh. 

Luther wrote to his friends and encouraged them 
to write hymns. In a letter to Spalatin, the secre- 


76 


tary and chaplain to the elector, he writes: ‘Fol- 
lowing the example of the prophets and the church 
fathers, I wish to compose hymns for our people; 
spiritual songs, that the Word of God thru song 
may live among the members of our Church. I 
search everywhere for poets. Since you possess ease 
of expression and taste in choice of words, having 
been trained in both these respects, I beg you to take 
a hand in this and to rewrite one of the Psalms of 
David after the pattern which I herewith submit 
to you. Avoid fanciful expressions. Let the words 
come in the most natural and direct manner, which 
may be clearly understood, but let the thought be 
rendered exactly and in harmony with the Psalm. 
Of course, having grasped the thought of the sacred 
writer, one must have the liberty to depart from 
the literal words of the Psalm and to choose words 
which best convey the inspired burden of the text.” 

Luther sent a similar request to Johann Doelzig, 
and suggested a few of the Psalms for this work. 
He adds that he has already worked over the 130th 
Psalm in this manner (Aus tiefer Noth). Spalatin 
and Doelzig did not fulfil Luther’s wish. But Paul 
Speratus composed three hymns and Justus Jonas 
one. There was springtime and seedtime in Lu- 
ther’s heart. The fountains of song began to flow 
in rich measure. A fruitful year was at hand. “Nun_ 
freut euch, lieben Christen g’mein”’ appeared shortly 
after ‘‘Ein neues Lied,” and, before the close of the 
year 1524, 24 of Luther’s hymns, together with the 
contributions from his helpers, were printed in many 
small hymnals, which flew over the countries carry- 
ing with them the seeds of life. And thus Lutheran 
hymn singing, which was destined to become such 


77 
a powerful factor in the Church of Christ, had be- 
gun its triumphant course, filled with the fulness and 
the power of the Gospel of Christ. 


30 


Who is there like Thee. 
Wer ist wohl wie du. 
—J. A. FREYLINGHAUSEN. 


| Pada is one of Freylinghausen’s best hymns and 
one of the most beautiful ‘“‘Jesus Hymns” in the 
German language. It was first printed in Geist- 
reiches Gesangbuch, 1704, and appeared in 14 six- 
lined stanzas. ‘The translation, by J. S. Stallybrass, 
is a good rendering of stanzas 1, 2, 8, and 9. In 
English it appeared first in Curwen’s Sabbath Hymn 
Book, 1859, and later in various English hymnals. 
Many English versions are in use. The melody 
(Seelenbrautigam) was composed by Adam Drese, 
1698. Drese was born in Weimar, 1620, and died 
1701, in Arnstadt. 

Johann Anastasius Freylinghausen was born De- 
cember 2, 1670, in Gandersheim of the principality 
of Wolfenbiittel. During his early years, while un- 
der the instruction of his pious mother, the story 
of the last judgment so impressed him that he often 
lay awake during the night weeping as he thought of 
the torments which the condemned had to undergo. 
At the age of 12 years he was sent to his grand- 
father, Polenius of Eimbeck, who was a minister. 
Here he was given intensive training in Bible study 
and in memorizing hymns, a work which bore good 
fruit in his later years. During the year 1689, at 
the university of Jena, he was led by one of his col- 


78 


leagues to study the writings of Luther, Arndt, and 
Spener. Their works had a decisive influence upon 
his development. ‘The fame of Francke’s preach- 
ing spread also to Jena and, during Easter of 1691, 
Freylinghausen and some of his friends went to 
Erfurt to hear him. Francke’s and Breithaupt’s 
sermons made a deep impression upon him, and he 
decided to accept an offer from Breithaupt, to re- 
side with him and take employment as family tutor. 

The following year he went with Francke to 
Halle to complete his studies, and towards the close 
of 1693 he returned to Gandersheim, where he 
served for some time as preacher and tutor. In 
1695 he became Francke’s assistant at Halle. Here 
he preached at the vesper services, conducted mid- 
week meetings, taught classes in the orphanage 
school, and delivered lectures on homiletics to the 
students. He served in this position without salary 
until 1715. Francke had to use all his income for 
the support of his institutions of mercy. But when 
Francke, in 1715; was called to the pastorate of 
Ulrichskirche in Halle, Freylinghausen became his 
successor as pastor for the suburb of Glauka. He 
was now married to Francke’s only daughter. He 
had been her sponsor, and she was even named after 
him, Johanna Anastasia. After Francke’s death 
he became his successor at the Ulrichskirche and the 
director of the orphanage ‘‘padagogium.” No one 
was better qualified to continue Francke’s work. 
Under his management the “‘institutions” flourished 
as never before. But his physical strength was 
waning. In 1725 he suffered a stroke, which later 
recurred several times. In 1737 his tongue became 


79 


paralyzed, so that he could no longer preach. He 
died February 12, 1739. 

Freylinghausen’s essential importance lies in the 
fact that he was the most eminent hymn writer of 
the pietistic movement. He wrote 44 hymns. They 
are all characterized by true Christian feeling, 
sound, vigorous piety, borne out of deep Christian 
experience. ‘They are Scriptural and clear, with 
a rich variety of rhythm, melody, and meter. 
‘Many of his hymns,” says Dr. P. Lange, “are 
especially marked by confessional purity, sincere 
feeling, clear thought, and beauty of expression.” 
He materially aided the cause of church song by 
compiling and editing large collections of hymns, 
and by gathering and composing melodies. It was 
- especially thru the latter that the pietistic hymns 
were given their unique character, so very different 
from the spirit of the choral. Many of these melo- 
dies are not suitable for church use. Freyling- 
hausen’s Geistreiches Gesangbuch, containing the 
~ best pietistic hymns, besides many older hymns, was 
published 1704, in Hamburg, and later appeared in 
many editions. The first edition contains 683 hymns 
and 173 melodies. Neues Geistreiches Gesangbuch 
has 815 hymns and 153 melodies. ‘These two col- 
lections were combined and published in 1741, by 
G. A. Francke. The combined volume contained 
1,582 hymns and 600 melodies. 


31 
Now thank we all our God. 
Nu takker alle Gud.—Landst. 76. 
Nun danket alle Goit. 
—M. RINKART. 


| nia hymn appeared for the first time-in Johann 
Criiger’s Praxis Pietatis Melica, 1648, and in 
Criiger-Runge’s Gesangbuch, 1653. It was slightly 
varied in the second edition of Rinkart’s Jesu Herz- 
Buchlein, 1663. Very likely it appeared also in the 
first edition of this book, Leipzig, 1636, but of this 
no copies are extant. It is one of the most favored 
hymns of the Protestant churches. It has been 
called the ‘“[Te Deum” of Germany and has been 
sung at all national festivals of thanksgiving, not 
only in Germany and all the north-European coun- 
tries, but also in America. Since it was sung at the 
festivals of thanksgiving at the close of the Thirty 
Years’ War, many have drawn the conclusion that 
it was composed at that time. It was sung after 
the battle of Leuthen, 1757, while the army of 
Friedrich II was yet upon the battlefield. A soldier 
began the hymn, and the whoie army, even the 
mortally wounded, joined in the singing. It was 
sung during the festivities in connection with the 
opening of the Cathedral of Cologne, August 14, 
1880. It was likewise used at the laying of the 
cornerstone for the new parliament building in Ber- 
lin, June 9, 1884. It was sung at the thanksgiving 
services in England at the close of the Boer War. 
There are at least 12 English translations. The 
version in The Lutheran Hymnary (31) is by Miss 


ae Se ee ae 


81 


Winkworth and appeared in the Lyra Germanica, 
1858. 

The hymn is based upon the words of the high 
priest Simeon, Ecclesiasticus 50:29-32: ‘And now 
let all praise God, who hath done great things, who 
hath glorified our days, and dealeth with us ac- 
cording to His loving kindness. He giveth us the 
joy of our heart, that we may find peace in Israel 
as in the days of yore,.thus He lets His loving kind- 
ness remain with us, and He will redeem us in our 
day.” Luther’s version follows: ‘‘Nun danket alle 
Gott, der grosze Dinge thut an allen Enden, der uns 
von Mutterleib an lebendig erhalt, und thut uns alles 
Gutes. Er gebe uns ein fréhliches Herz, und verleie 
immerdar Frieden zu unserer Zeit in Israel, und 
dass seine Gnade stets bei uns bleibe, und erldse uns, 
so lange wir leben” (Sir. 50:24-26). ‘The third 
stanza contains the ancient doxology, the Gloria 
Patri. | 

The melody (Eng. title, Nun danket, or Witten- 
berg) is by Johann Cruger. It was used in an early 
edition, still to be found, of Criiger’s Praxis Pietatis 
Melica, 1647. In Criiger-Runge’s Gesangbuch, 
1653, it is marked with Criiger’s initials. 

Martin Rinkart (Rinckart) was born April 23, 
1586, in Eilenburg, Saxony. Having completed the 
course at the Latin school in his home town, he be- 
came assistant teacher and chorister in the Thomas- 
Schule at Leipzig. In 1602 he enrolled in the uni- 
versity as a student of theology. In 1610 he sought 
the office of deacon at Eilenburg and even received 
the recommendation of the city council. But the 
superintendent denied his application, apparently on 
the ground that Rinkart was a better musician than 


82 


a theologian, but in reality because he did not wish 
to have as a co-worker one who had been born 
and raised in the city, and one who had at times 
shown a rather headstrong disposition. Rinkart, 
however, received an appointment as teacher and 
cantor in Eisleben, and a few months later he be- 
came deacon of the Church of St. Anna of that 
city. In 1613 he moved to Erdeborn, and in 1617 
the city council of Eilenburg appointed him arch- 
deacon of his native city. During his activity here 
the Thirty Years’ War broke out and Rinkart, filled 
with untiring love and selfsacrifice, had to undergo 
many severe trials. In 1637 a deadly pestilence 
raged in the city. Eight thousand people perished, 
and for a long period Rinkart, three times daily, 
accompanied a dozen or more to the grave. Scarcely 
was this visitation over when a terrible famine en- 
sued. People were driven to desperate straits, even 
to the extent of eating the carcasses of dogs and 
cats. Rinkart faithfully shared his bread with the 
famished followers that gathered about his home. 
In 1639 the Swedish general levied a forced contri- 
bution of 30,000 thaler upon the city. Rinkart went 
out to the leader and begged for clemency, but to no 
avail. When he came back, he gathered the people 
of the city and said: ‘Come, dear parishioners, 
we have not found grace with men; let us beseech 
God to help us.” The bells tolled for the hour of 
prayer. The congregation sang ‘‘When in the hour 
of utmost need,’”’ and Rinkart, kneeling, appealed 
to God in a fervent prayer. ‘This made such a 
profound impression upon the Swedish commander, 
that he yielded the greater part of the demand. 
Rinkart’s people did not seem to appreciate his 


83 


kindness and faithfulness toward them. He was 
forced to pay an exorbitant rental for the use of 
the parsonage, and when soldiers were billeted upon 
the city, his home was always filled. In addition 
to all this he was drawn into a long and unjust litiga- 
tion, which brought him into extreme debt and 
poverty. ‘The terrible war ended in 1648, and on 
December 8, 1649, Rinkart passed to his reward. 

Rinkart did not write many hymns. Only one 
has been translated into Danish, namely, ‘‘Now 
thank we all our God,” ‘Nu takker alle Gud,” 
which appeared in Pontoppidan’s Hymnary, 1740. 

Rinkart wrote a great deal and was very profi- 
cient in music. Many of his works have evidently 
been lost. Among other productions he wrote 
spiritual comedies and dramas based upon the events 
of the Reformation period. 


32 
Pleasant are Thy courts above. 


A BS Eyre: 


3 Hew amiable are Thy tabernacles, O Lord of 
hosts. 

My soul longeth, yea, even fainteth for the courts 
of the Lord: my heart and my flesh cry out for 
the living God. 

Yea, the sparrow hath found an house, and the 
swallow a nest for herself, where she may lay her 
young, even Thine altars, O Lord of hosts, my King 
and my God. 

Blessed are they that divell in Thy house: they 
will be still praising Thee. Sela (Psalm 84:1-4). 

This hymn paraphrase, which is of a brighter 


84 


and happier mood than most of Lyte’s hymns, was 
published 1834, in The Spirit of the Psalms. Like 
the greater number of his paraphrases, it consists 
of a rather free rendering based upon the Biblical 
text. [he hymn is used extensively in England and 
America. The melody (Tichfield) was composed 
by John Richardson, English composer, born 1816, 
died 1879. 


33 


Light of light, enlighten me. 
Licht vom Licht, erleuchte mich. 
—B. SCHMOLCK. 


ICHT vom Licht, erleuchte mich,” appeared 

first in the author’s Anddachtige Herze. It 
contained seven stanzas and was intended for use 
in connection with the Sunday morning prayer. Miss 
Winkworth’s fine English version appeared in the 
Lyra Germanica, 1858, and in her Chorale Book for 
England, 1863, and has been included in many hymn 
books. In this version the seventh stanza of the 
original has been omitted. ‘There are two or three 
other English translations. “Che melody has been 
accredited to J. S. Bach. 

Benjamin Schmolck was born December 21, 1672, 
in Brauchitzchdorf, near Liegnitz, Silesia, where 
his father, Martin Schmolck (Schmolcke), was a 
minister. For five years he studied at the Lauban 
Gymnasium. When he came home he delivered 
a sermon which so pleased his father that he at once 
determined to provide the means for his theological 
education. He came to the university of Leipzig, 
where pious and able teachers, especially P. Olea- 


85 


rius and J. B. Carpzov, exerted great influence upon 
him. He began to write poems, including occasional 
songs for the wealthy, securing for him a consider- 
able extra income. Having passed the theological 
examinations, he returned in 1694 to his home, 
where he was ordained and called as his father’s 
successor. In 1702 he was chosen deacon of Frieden- 
kirche in Schweidnitz. ‘The Catholics had seized 
all the churches in this district. ‘The Lutherans were 
permitted only a ‘“‘meeting-house’”’ (without steeple 
or tower) erected outside the city limits. ‘This 
meeting-house was the only Lutheran church for a 
district comprising about 36 villages. Here 
Schmolck labored during the remainder of his life. 
He was promoted to archdeacon, 1708, and to 
senior, 1712, pastor primarius and inspector, 1714. 
In 1716 the city of Schweidnitz was destroyed by 
fire, and many of those who were nearest to him 
died. He spent a comparatively quiet and care- 
free life until his 58th year. Then, on the third 
Sunday of Lent, while he was seated in his home, 
he was stricken with paralysis. His right side, 
arm, and leg were paralyzed. He recovered, how- 
ever, sufficiently to continue his work for five years 
more in spite of great physical pain. On the Day 
of Humiliation and Prayer, 1735, he preached his 
last sermon. Another stroke cast him upon the 
sickbed, where he lay blind and speechless and was 
scarcely able to place his hand upon the heads of 
his people who came to him for blessing. He died 
on the anniversary of his wedding day, February 
12, 1737. Schmolck was a beloved pastor, an able 
preacher, a man of tact and discretion. He was a 
prolific hymn writer. Most of his hymns and spir- 


86 


itual songs are found in different books published 
from 1704 to 1734. The first volume, entitled: 
Heilige Flammen der himmlisch-gesinnten Seele, 
appeared during Schmolck’s lifetime in 13 editions 
and made him famous thruout Germany. After his 
death his books were published in two volumes 
called: Sammtliche Trost- und Geistreiche Schriff ten, 
etc., in several editions. Schmolck was the most 
popular hymn writer of his time and has been called 
“the second Paul Gerhardt” and “‘the Silesian Rist.” 
His hymns are marked by deep religious fervor, 
and breathe the spirit of love and devotion to the 
Savior. But he did not attain to the poetic flights 
of Paul Gerhardt, neither does he approach his sim- 
ple, concise, and noble diction, rich poetic imagery 
and power. But several of his hymns are marked 
by great warmth and intense feeling, in spite of the 
fact that many are of less value. He wrote too 
many hymns, particularly during his later years, 
and there seems to have been a conscious effort to 
produce high-sounding expressions. In all he com- 
posed about 900 hymns, aside from a great num- 
ber of spiritual songs. ‘The hymnologist, Bishop 
Skaar, says that Schmolck wrote a total of 1,183 
hymns and spiritual songs. Several of his hymns 
have been translated into many languages. Forty- 
one have been translated into English and of these, 
sixteen have been taken up into various hymnals. 


87 


34 


Blessed Jesus, at Thy Word. 
S¢de Jesus, vi er her.—Landst. 4. 
Liebster Jesu, wir sind hier. 
—T. CLAUSNITZER. 


B LESSED Jesus, at Thy Word,” appeared firest 
in Altdorffisches Gesang-Biichlein, 1663. In 
1676 it was taken into Clausnitzer’s hymn book at 
Nurnberg and has since been constantly used in 
Germany and in other Lutheran countries. The 
first Danish translation appeared in Pontoppidan’s 
Hymnary in 1740. The translator is not known. 
In Pontoppidan’s, as well as in the German hym- 
nals, it is ordered to be sung “before the sermon,” 
but since Guldberg’s Hymnal appeared the hymn 
has been used as an opening hymn for the service. 
There are at least eleven English translations. The 
Lutheran Hymnary has made use of Miss Wink- 
worth’s version. The melody was composed by Jo- 
hann Rudolph Ahle (a German musician, 1625- 
1673), and it was later varied somewhat by Frey- 
linghausen. | 
Tobias Clausnitzer was born February 5, 1619. 
He studied at several universities and received his 
master’s degree from Leipzig in 1643. The fol- 
lowing year he was appointed army chaplain for 
a Swedish regiment. On the second Sunday in Lent 
he delivered the festival sermon in the church of 
St. Thomas in Leipzig. The occasion was Queen 
Christina’s accession to the crown of Sweden. He 
also preached at the thanksgiving services held at 
Weiden, January 1, 1649. ‘The latter sermon was 


88 





delivered at the special request of General Wrangel 
following the signing of the Peace of Westphalia. 
In the same year Clausnitzer was appointed to the 
pastorate of Weiden. Later he was also chosen 
member of the consistory and inspector of the dis- 
trict. He died May 7, 1684, in the city of Weiden. 


39 


Open now thy gates of beauty. 
Thut mir auf die schone Pforte. 
—B. SCHMOLCK. 


a hymn appeared for the first time in 
Schmolck’s Kirchen-Gefahrte, in 1732, in seven 
six-lined stanzas under the title: On Our Entrance 
into the House of God; or Presenting Ourselves 
before the Lord. The English translation is by 
Miss Winkworth, from the Chorale Book for Eng- 
land. ‘The third and sixth stanzas are omitted. The 
melody, by the Danish church musician, A. P. Berg- 
green, appeared in his choral book, of 1848, as a 
setting for the hymn, ‘Amen raabe hver en ‘Tun- 
ge.” (For biography of B. Schmolck see No. 33.) 

Catherine Winkworth was born in London, Sep- 
tember 13, 1829. Her early years were spent in 
Manchester. Later the family moved to Clifton, 
near Bristol. Miss Winkworth was an active, noble, 
and pious woman, who came to exert a most benefi- 
cial influence in wide circles. She was the leading 
member of the Clifton Society for the Advancement 
of Higher Education among Women, and similar 
societies. She died suddenly of heart failure in 
July, 1878. Her hymnological works consist of 
the following: Lyra Germanica, first series, 1855; 


89 


second series, 1858; The Chorale Book for England 
(translations of German hymns, with music), 1863; 
Christian Singers of Germany, biographical, 1869. 
Miss Winkworth is the most able and most popular 
among the English translators of German hymns. 
Others have also reached eminent heights in cer- 
tain respects. But as to faithfulness toward the 
original, both in respect of contents and meter, clear- 
ness of thought and euphony of language, no one 
has surpassed her. ‘lo this may be added that Miss 
Winkworth has rendered more translations from 
the German than any other author, and well nigh 
all of them are of very high rank. She has done 
more than any other translator to make German 
hymns known and appreciated in English-speaking 
countries. Our Lutheran Hymnary has 53 of her 
translations. 


36 


Lord Jesus Christ, be present now. 
O Herre Krist, dig til os vend.—Landst. 5. 
Herr Jesu Christ, dich zu uns wend. 
—WILHELM II, Duke of Sachsen-Weimar. 


OSs hymn was first printed in the Cantionale 
Sacrum, second edition, Gotha, 1651, and later 
it appeared in Niedling’s Hand-Biichlein, fourth 
edition, Altenburg, 1655. In both these it appeared 
anonymously. In the latter book it had the follow- 
ing title: ‘‘Pious Christians’ Prayer for the grace 
of the Holy Ghost and help during the hours of 
worship; to be used before the sermon.” In the 
Alidorf Liederfreund, published 1676, the name of 
Duke Wilhelm is connected with the hymn. Koch 


90 





relates that the duke composed this hymn at one 
time deeply moved by viewing a painting of the 
crucified Savior. The contents of the hymn, how- 
ever, do not support this story (Skaar). B. K. 
Aegidius translated it into Danish from the edition 
of the Liineburgisches Gesangbuch, 1686, and this 
version was made use of by Pontoppidan in his 
hymnal of 1740. The English translation adopted 
in our Lutheran Hymnary is by Miss Winkworth. 
The melody, by an unknown composer, appeared 
first in the Cantionale Sacrum, Gotha, 1651. It 
does not appear that anyone thought it posssible 
that the melody also might have been composed by 
Duke Wilhelm; he was quite proficient also in music. 

Wilhelm II, Duke of Sachsen-Weimar, was born 
in Altenburg castle April 11, 1598. For a time he 
studied at the university of Jena. Among his studies 
was also included a course in music. He took part 
in the Thirty Years’ War and distinguished himself 
by his courage as well as by his Christian piety. 
He was severely wounded in two battles. In the 
latter, near Stadtlohn, Westphalia, 1623, he was 
pierced by a bullet and left among the dead upon 
the battlefield. He was taken prisoner by General 
Tilly. He was liberated in 1625 and became 
governing duke of Weimar and was active in fur- 
thering the interests of his district, both spiritual 
and temporal. He was also active in the work of 
reconstruction following the war. After the Peace 
of Westphalia he again pursued his studies in poetry 
and music. He died May 17, 1662. 

Bertel Kristian Aegidius (Gjgdesen), the Danish 
translator of this hymn, was born 1673, in Bylderup, 
near Tgnder. At the age of 28 years he became 


91 


pastor of Varnes, near Aabenraa, where he served 
till his death, in 1733. He is thought to have edited 
a hymn book published 1717 in Flensborg. Many 
of his hymns have been taken up in Danish and 
Norwegian hymnals. 


37 


Dearest Jesus, draw Thou near me. 
Sode Jesus, kom at rgre.—Landst. 18. 
—Tu. KINGo. 


alae hymn in The Lutheran Hymnary contains 
the last three stanzas of the famous Danish 
hymn, ‘‘H¢rer, Verdens Wer, h¢grer.’’ The complete 
hymn contained 10 stanzas. Itis based upon Is. 49: 
1-6, the epistle lesson for St. John the Baptist’s Day. 
Since this holiday was abolished by a special or- 
dinance October 26, 1770, the last three stanzas 
have been used at the beginning of the service. The 
English translation used in the Hymnary is by C. 
K. Solberg, 1908. The melody was composed by 
Johann Schop, German violinist and composer, born 
in Hamburg at the beginning of the seventeenth 
century; died in his native city, 1664 or 1665. 
Thomas Hansen Kingo, born in Slangerup, Den- 
mark, December 15, 1634, was the son of a linen 
weaver, Hans Thomesgn Kingo. His father came, 
at an early age, to Denmark from Scotland. Thomas 
Kingo spent his boyhood years in Slangerup and in 
Fredriksborg, where he attended the Latin school. 
In 1654 he passed the examen artium and, after 
four years’ study at the university, completed his 
course for the ministry in 1658. After serving for 
some time as private tutor, he became assistant pas- 


92 


tor with Peder Jakobss¢n Worm, and remained with 
him seven years. Worm died in 1668, and in the 
same year, in August, Kingo became pastor in his 
native city of Slangerup. By this time he had be- 
come known as a poet. In 1665 appeared his Se- 
bygaards Koklage and subsequently, among others, 
the famous pastoral poem Chrysillis, which be- 
came very popular.” His rank as a poet was thus 
established even before he appeared as a hymn 
writer. Therefore, Bishop Wandal, in his preface 
to Kingo’s first hymn book, called him “our most 
famous Danish bard.’ At Christmas, 1673, his 
collection of spiritual songs, dandelig Sjungekors 
forste Part (Spiritual Songs, First Part) appeared. 
This contained only twenty-one hymns: fourteen 
morning and evening hymns, and seven of the peni- 
tential Psalms of David. While his other poetry 
followed the style of his times and has but little of 
present-day interest, his hymns have exceptional 
vigor and beauty. His morning psalms are like the 
morning dawn itself, presaging the coming of a new 
day for Danish poetry. In 1670 he was appointed 
bishop of the diocese of Fyen, which at that time 
included also Lolland and Falster. He performed 
the duties of his office faithfully and did not spare 
‘those who were neglectful of their work, while at 
the same time he proved a friend and helper to 
all who were conscientious in the performance of 
their duties. On the 15th of June, 1679, Kingo was 
made a member of the Danish nobility, and in 1682 
he was created doctor of theology. 

In 1681 appeared the second part of Aandelig 
Sjungekor. This contained twenty hymns and six- 
teen prayers. Of the hymns six deal with confession 


93 


and sanctification; four with the Lord’s Supper; 
five with the vanity of the world and the providence 
of God; three are table hymns; a devotional for 
travelers; and a hymn for sea-farers. In poetic 
beauty and force this edition was fully equal to the 
first part. Kingo now ranked as the first poet of 
Denmark. He supplied melodies for his hymns, 
and some hymns were composed directly to secular 
melodies (folksongs). ‘To justify this latter prac- 
tice he directs an appeal to “the courteous and fair- 
minded reader,’’ in which he calls attention to the 
fact that he thereby desires to make these tuneful 
and pleasant melodies more heavenly and more de- 
votional: “If you thru some pleasing melody enjoy 
a song of Sodom, how much more ought you not, 
as a true child of God, to enjoy a song of Zion with 
the same melody.” King Christian V, under whose 
directions the ritual of the church was being pre- 
pared, desired also to have a new hymn book to 
take the place of Hans ‘Thomiss¢gn’s, which had been 
in use since 1569. This hymnal (Thomiss¢n’s) had 
been reprinted many times with but few changes up 
to the middle of the 17th century. From that time, 
however, it was to a large extent supplanted by 
various editions, especially by the publications of 
the firms of J. Moltke, Kr. Cassuben, Kr. Geert- 
sgn, and Dan. Paulli, publishers of Copenhagen. 
The many editions which appeared contained the 
hymns of Thomiss¢n’s Hymnal, but included also a 
great amount of material borrowed from various 
devotional writings and poor translations. In many 
cases the original hymn book made up the smaller 
part of the editions. Complaints began to be made 
that almost every congregation, ‘‘nay, almost every 


O4, 


church-goer carried a different hymn book.” Fur- 
thermore, so many misprints and errors appeared 
that the old, familiar hymns could scarcely be rec- 
ognized. Hence, when Kingo’s Spiritual Songs ap- 
peared, it was only natural that the desire for bet- 
ter hymnaries made itself felt. It was also natural 
that King Christian V, in casting about for a better 
hymn collection, turned his thought toward Kingo’s 
edition. By the royal rescript of March 27, 1683, 
Kingo was ordered to prepare a new hymn book 
to contain “‘the best of the old, familiar hymns and 
a good number of his own compositions, so that 
more variety of selection might be possible in the 
future.’ Kingo was further ordered to retain with- 
out change the principal hymns sung before the ser- 
mon on Sundays. A change in these would not be 
tolerated except in cases where a new word here 
or there might actually improve the hymn. Under 
no circumstance should there be any change in the 
thought of any of Luther’s hymns. With respect to 
the arrangement of material, each Sunday was to 
have its own series of hymns, ‘“‘not too long, and 
according to the best and most familiar church 
melodies.’’ When this new book had been approved 
and accepted, Kingo should publish it and possess 
the sole right of sale, at a popular price, for fifteen 
years. Churches and schools were to be required 
to buy it, and the use of any other hymnal was to 
be strictly forbidden. 

Six years later, in 1689, the first part appeared. 
This was called The Winter Part( from Advent 
to Easter) and contained 267 hymns. Of these, 
136 were by Kingo. It was approved January 25, 
1690, and ordered to be introduced in all the | 


95 





churches of the kingdom. The order should take 
effect upon the first Sunday in Advent of that year. 
But on the 22nd of February the king cancelled this 
order and also Kingo’s rights of publication. This 
was a hard blow to him, but not wholly undeserved, 
as he had not followed the prescribed method of 
procedure. The greater number of the hymns, ex- 
cept those by Kingo himself, were not well suited 
for church use. The task was now given to S¢gren 
Jonass¢n, dean of Roskilde, but the collection which 
he delivered in 1693 did not contain a single one 
of Kingo’s hymns, and for that reason could not 
be approved. Kingo then sent a petition to the 
king, and the result was that a commission was ap- 
pointed to prepare a new hymnal based upon the 
outline of Kingo’s hymn book. The developments, 
however, proved disappointing to Kingo. In the 
new hymnal only 85 of his hymns appeared and in 
the book of family devotions, prepared at the same 
time, only 21 hymns from the first part of Spiritual 
Songs were made use of, and 3 from the second part. 
On July 21, 1699, the hymn book popularly known 
as Kingo’s was introduced in all the churches of 
Denmark. But the adversity which he encountered 
in connection with the hymnary was not the only 
incident which cast a gloom over his later years. 
His successor in office, Bishop Miller, accused 
Kingo of misappropriation of funds, but after a 
long and bitter court trial, Kingo was exonerated. 
The charge of avariciousness, which by some has 
been placed against him, has never been substan- 
tiated. He was recognized as an able and ener- 
getic bishop, and his secular poems were praised 
very highly. But his fame rests mainly on his im- 


96 


mortal hymns. A Danish author says of him: “He 
showed rare genius in moulding language into beau- 
tiful rhythm, in unfolding deeply religious thought 
in clear and striking pictures. New and melodious 
expressions are born thru him. ‘The force of his 
Alexandrine stanzas, which otherwise might have 
developed into bombast and empty pathos, has in 
his hymns been combined with the most elegant 
grace.’ As Grundtvig, the famous hymn writer, 
once expressed it, “He effected a combination of 
sublimity and simplicity, a union of splendor and fer- 
vent devotion, a powerful and musical play of words 
and imagery which reminds one of Shakespeare.” 
But the chief characteristic of his work is to be 
sought in the manner in which he brought out the 
true hymn spirit and gave it a deeply religious ex- 
pression. For this reason he has been called, ‘‘Sal- 
misten i det danske kirkekor’’ (The Psalmist of 
the Danish Church Choir). Personally he was of 
a very excitable and even impassionate tempera- 
ment, and thus would have been able to picture 
varying moods of stress and trial in the deeply re- 
ligious soul, but in his hymns he does not often dwell 
on the subjective moods. His hymns are always 
tempered by experience, experience supported by 
and interwoven with the everlasting thoughts and 
facts of a living Christianity. For that reason his 
hymns are truly church hymns. Of course, rational- 
ism did not appreciate his Christianity nor his 
hymns, but when this movement receded, in the 19th 
century, Kingo again was restored to his place of 
honor. Bishop Skaar says: ‘Among the finest 
hymns in Spiritual Songs must be mentioned the 
morning and evening hymns with their accompany- 


97 


ing prayers, and the table and communion hymns. 
His hymns based upon the Gospel and epistle les- 
sons, especially, express in striking phrases the 
thoughts that stir the hearts of Lutheran believers 
as they behold the life of the Savior upon earth; 
His lowly birth, suffering, death, resurrection, and 
_ ascension. ‘These hymns, which generally end with 
an appeal to lift the heart unto God in prayer and 
thanksgiving, have always been cherished by those 
who have learned to know them.” 


38 


Safely thru another week. 
—JOHN NEWTON. 


viele hymn appeared first in R. Conyers’ Psalms 
and Hymns, 1774. It has five stanzas. Later, 
in 1779, it was published in the Olney Hymns, Book 
II, No. 40. ‘The fourth stanza of the original has 
been omitted. Its title is Saturday Evening. 

(The melody was composed in 1911, especially 
for this hymn, by John Dahle, professor of hym- 
nology, Luther Theological Seminary, St. Paul, 
Minn.— Translator. ) 


39 
O Holy Ghost, to Thee we pray. 
Nu bede vi den Helligaand.—Landst. 3. 
Nun bitten wir den Heiligen Geist. 
—M. LuTuHer. 
pus hymn was based upon a stanza found in 


one of the medieval German hymns, which was 
as follows: 


98 





Nun bitten (or Nu biten) wir den Heiligen Geist 

umb den rechten glouben allermeist, 

daz er uns behuete an unserm ende, 

so wir heim suln varen uz diesen ellende, 
Kyrieleis. 


The stanza has been found, in quotation, in one 
of the sermons of the Franciscan monk, Berthold, 
famous preacher of Regensburg, who died in the 
year 1272. Hence, the stanza had been in use prior 
to his time. Berthold’s sermon manuscript con- 
taining this stanza is now kept in the Heidelberg 
library. A later version has been found in the 
Psalter Ecclesiasticus, Mainz, 1550. As this stanza 
was sung during the worship on Pentecost Day, an 
artificial dove fastened to a string was lowered into 
- the church or a real dove was turned loose to flutter 
about in the room. ‘The above mentioned Berthold 
of Regensburg drew such great numbers by his ser- 
mons that the meetings had to be conducted outside 
the church. ‘He writes concerning this stanza: 
‘““‘Nun bitten wir den Heiligen Geist.’ is in truth a 
useful and dear hymn, and the more ye sing it, the 
better. With wholehearted devotion, ye ought to 
sing it and cry unto God. It was a happy find, and 
a wise man has written it.” 

Luther adopted this Pentecost stanza and added 
the three following. In this new form the hymn 
was first printed in Johann Walther’s collection for 
four voices: Geistliche Gesang-Biichlein, 1524, to- 
gether with the melody. It has found a place in 
all Lutheran hymn books. Luther, who himself or- 
dered it for use after communion, later included it 
among his funeral hymns. It has commonly been 


99 


sung on Pentecost Day, but in many places it is used 
as a fixed hymn to be sung before the sermon every 
Sunday. ‘The oldest Danish translation is found in 
the ‘missal of 1528 and is no doubt the work of 
Klaus Mortensgn. ‘This version was made use of 
in the first Danish-Norwegain hymn book by Guld- 
berg. The first stanza here is as follows: 


Nu bede wy then helligaandh, 
alt om then Christelighe thro och reth forstandh, 
thet oss Gud beuare 
och sin naade sende, 
nar wy heden fare 
aff thetthe ellende. 
Kyrieleis. 


In the second edition of Klaus Mortens¢n’s 
Hymnal, 1529, there is, besides this version, also 
another by the minister, Arvid Pedersgén. Again, 
a third attempt, which is rather a free translation, 
appeared together with these in the Malmé Hymn 
Book of 1533. Grundtvig’s translation has been 
adopted in the new Danish hymnals. ‘The accepted 
Norwegian version is by Landstad. The first stanza 
is always used in our Church at the ordination of 
ministers. 

During the terrible persecutions of the Protestant 
Christians of France in 1560, when many were 
tortured and killed, this hymn became in numerous 
instances the ‘‘swan song”’ of the martyrs. In Ger- 
many, we are told, even criminals condemned to 
death sang “‘Nun bitten wir den Heiligen Geist,” 
when being brought to the gallows. Skaar says: 
“In this hymn many have found comfort in the 
anguish of death.”” Our English translation in The 


100 


Lutheran Hymnary is by the Rev. O. G. Belsheim. 
There are in all 12 English translations. 

The melody is possibly as old as the first stanza 
of the hymn. The oldest source is a Hussite can- 
tionale from the 15th century. 


40 
Father, who the light this day. 
—J. A. ELuiorr. 


dpe ANNE ELLIOTT, daughter of John 
Marshall, was married, 1833, to the Rev. H. 
W. Elliott (a brother of the poetess Charlotte El- 
liott). She died in 1841. Her hymns, 11 in num- 
ber, were printed in Rev. H. W. Ellioti’s Psalms 
and Hymns in 1835, first anonymously; her initials 
were added in the later edition of 1839. Her hymns 
are marked by deep religious spirit and fine poetic 
taste. [his hymn has as its first line in Elliott's 
Psalms and Hymns: “Great Creator, who this 
day.” 

The melody was composed by the Danish or- 
ganist and composer, Johan Peter Emilius Hart- 
mann, of Copenhagen. It was first published as 
the setting for Grundtvig’s hymn, “Fred til Bod for 
bittert Savn’’ (Peace to soothe our bitter woes, 


L. H. 49). 


Al 
We love the place, O God. 
Wt BULLOCK. 


fabs hymn is based upon the eighth verse of the 
26th Psalm: ‘‘Lord, I have loved the habita- 
tion of ‘Thy house, and the place where Thine honor 


101 
€ 

dwelleth.” It appeared in the author’s edition of 
Songs of the Church, published in Halifax, Nova 
Scotia, 1854. It is thought likely that the hymn was 
written in 1827, for the dedication of the church 
in Trinity Bay, New Foundland, where the author 
was rector. It has been revised by H. W. Baker 
and has entered into all the leading hymnals of the 
English speaking countries. It has been translated 
into many languages. The melody (L. H. 41), 
from Meiningen Gesangbuch, 1693, was first used 
for Heermann’s hymn ‘“‘O Gott, du frommer Gott,” 
later also for S. Franck’s ‘‘Ach Gott, verlass mich 
nicht.” 

William Bullock, born 1798 in Prettiwell, Apex, 
England, received his education at Christ’s Hos- 
pital. Thereupon he entered the marine service. 
Once on a voyage with his brother, Admiral Frede- 
rick Bullock, exploring the coast of New Found- 
land, he decided to become a missionary in those 
parts. He became connected with the “Society for 
the Advancement of the Gospel in Foreign Lands’; 
was later ordained to the ministry and served as a 
missionary for 32 years. For some time he was 
dean of Halifax, Nova Scotia. He died in 1874. 

Bullock’s Songs of the Church were written dur- 
ing his missionary activity for the special use of the 
congregations in the new provinces, where it was 
not possible to conduct regular public services. 


102 


A2 


Lord, we humbly bow before T hee. 
—H. J. THOMPSON. 


hee hymn appeared in a collection under the 
title: Hymns and Other Verses. ‘The melody 
is by Johann Cruger, and appeared for the first 
time in 1649, being used for the hymn, “Du, o 
schones Weltgebaude.”’ 

Henry John Thompson was born 1830, in Kings- 
clere, England, and educated at Oxford, where he 
studied theology. He was first appointed assistant 
pastor for St. Mary’s, Warwick, and later became 
dean of Weedon. He died in 1887. 


43 


Lord God, our Father, Thou our chiefest stay. 
Herre, Gud Fader, du vor hdieste Trést.—Landst. 2. 
Kyrie, fons bonitatis. 


A plas hymn is a translation of Landstad’s me- 
trical version of the ancient “Kyrie Summum,” 
from the Latin “Kyrie, fons bonitatis,” found in a 
missal manuscript from the 12th century and ren- 
dered into Danish by Klaus Mortensgn in 1528. In 
The Holy Evangelical Office of the Altar Service 
(Det hellige evangeliske Messeembede), the ‘“Ky- 
rie’ has been assigned a place between the Introitus 
and the greater Gloria. Thomissgn relates that it 
was sung on Pentecost Day and from then on until 
Christmas, and from Candlemas until Easter. The 
Latin ‘“‘Kyrie’ was, during the Middle Ages, sung 
from the Festival of the Trinity until Christmas. 
The English translation used in The Lutheran 


103. 


Hymnary is by Rev. Carl Dgving. The melody ap- 
peared first in Hans Thomissgn’s Hymnal of 1569, 
in which the melodies were given together with the 
hymns. 


Ag 


To Thee, O God, we raise. 
—A. T. PIERSON. 


1 ats hymn was first printed in the author’s 
Hymns and Songs of Praise, New York, 1874. 
(On the melody, see above, No. 31.) 

Arthur Tappan Pierson was born March 6, 1837, 
in New York City. He was educated at Hamilton 
College, from which institution he was graduated 
in 1857. He became a minister in the Presbyterian 
Church and served in Binghampton and Waterford, 
N:,Y. In 1869 he came to serve the Fort. Street 
Church in Detroit. Later he was called to Bethany 
Church, Philadelphia. Among the founders and 
prominent members of this congregation may be 
mentioned the well known John Wanamaker. Pier- 
son wrote four hymns. 


AS 


O how holy is this place. 
—B, SCHMOLCK. 
TS hymn was translated into English in 1911 


by A. Ramsey. 
(On B. Schmolck see under No. 33h) 


104 


46 


How blest are they who hear God’s Word. 
O salig den Guds Ord har hért.—Landst. 87. 


By ANGELISKE SANGE, published in 1787, 

contained this hymn written by Bishop Johan 
Nordahl Brun. It is based upon the last portion 
of the Gospel lesson for the third Sunday in Lent: 
‘Blessed are they that hear the Word of God and 
keep it” (Luke 11:28). The English translation 
is by Rev. O. H. Smeby. 

The melody was first printed in Hans Thomiss¢@n’s 
Hymn Book of 1569. It was used there as a setting 
for the hymn, “(Om himmeriges rige, saa ville vi 
tale.” It is written in the Phrygian mode, but has 
in the course of time undergone many changes both 
in melody and rhythm. 

Johan Nordahl Brun was born March 21, 1745, 
on the homestead of Hgiem, Bynesset, Norway. 
His father, Sven Busch Brun, was a merchant. His 
mother’s name was Mette Katarina Nordahl. His 
first instruction in writing and arithmetic was re- 
ceived from his father. His mother taught him to 
read diligently the Holy Scriptures, so that, when 
he was eleven years of age, he had read the whole 
Bible two times. This contributed in great measure 
to place him upon firm, Scriptural ground and pre- 
pared him to become a strong champion of the 
Christian faith over against the rationalism of his 
age. He took an active part in outdoor sports, 
especially skiing and skating. Brun’s half-brother, 
who had become a candidate of theology in Copen- 
hagen, induced him to become a student. At first 
he was tutored by his half-brother. Later he at- 


105 


tended the Latin school in Trondhjem and the uni- 
versity. He became family tutor in the home of 
Councillor Meinche and accompanied the latter’s 
son to Sorg in Denmark. Here he decided to take 
the theological examination. He was given three 
months in which to prepare for this. The examina- 
tion resulted in the lowest possible mark (non con- 
temnendus). His examination in homiletics, how- 
ever, resulted somewhat better. Brun returned to 
Norway and spent three years in Trondhjem as an 
instructor, preacher, and poet. He applied for two 
positions, but was not appointed. In 1771 he ac- 
companied Bishop Gunnerius to Copenhagen as his 
private secretary. His activity as secretary, how- 
ever, did not materialize. But during his stay in 
the capital city he wrote the drama Zarine, which 
created a sensation and brought him good returns. 
Altho this was not a work of high merit, still it 
deserves mention because it was instrumental in 
bringing forth Wessel’s masterpiece, Kyerlighed 
uden Strgmper. A new drama, Einar Tambeskjal- 
ver, published by Brun in 1772, received much un- 
favorable criticism. The next year he became as- 
sistant pastor at Bynesset. He was ordained 1773 
in Trondhjem. In the fall of the same year he mar- 
ried Ingeborg Lind, with whom he had been en- 
gaged twelve years. 

His new position brought him a very meager in- 
come, but he tried to adjust himself to the condi- 
tions. He was assisted materially by a group of 
faithful friends in Trondhjem. Moreover, the 
members of his congregation held him in great love 
and esteem. Brun, however, desired above all to 
work in the city. But he applied in vain for the 


106 


rectorship of the church of Our Lady. In 1774 
he was appointed to a similar position in Bergen. 
He was installed there on the seventh Sunday after 
Trinity and held this position until January 6, 
1804, when he was made bishop of the diocese of 
Bergen. But as far back as 1793 he had been called 
as provost of the district of Bergen, Nordhordland, 
and Voss and had served from 1797 as constituted 
bishop. | 

While serving as a minister, Brun gained great 
fame not only as a poet, but especially as an elo- 
quent preacher. Further, in the office of bishop he 
deserves undying praise for his very able opposition 
in word and deed to the onslaughts of the rational- 
ists. He was found in the front ranks, meeting 
every attack upon the old established Christian 
faith, and before he died he saw the dawn of a bet- 
ter era. ‘The congregations in the diocese of Ber- 
gen owe it to Brun’s activity that they were spared 
from the influence of Balle’s books of instruction 
and the Evangelical-Christian Hymn Book. Brun 
died July 26, 1816. 

In the history of hymnology Brun is especially 
noted for his Evangelical Hymns, published in Ber- 
gen, 1786. In the foreword to his edition he states 
that he is approaching the age ‘“‘when the soul is 
losing its fire and we eagerly reach out for some 
happier moment that may shine thru the clouds of 
sorrow that surround us. Our divine worship is 
that garden from which I have gathered my flowers. 
But I have gathered during the autumn season. Our 
new hymn book (Guldberg’s) has gathered in 
the most fragrant blossoms. Only in places, where 
it seemed to me that he had not gathered all, there 


107 


I have made an attempt. And, for the purpose of 
marking these, I have, in connection with all my 
~ hymns, given the corresponding number in the 
hymnary. If the regular hymns should be preferred 
to mine, it shall not offend me, as long as mine are 
also found useful for edification. I fully admit that 
the Church of God might well dispense with my 
little book. But let it be said that among many such 
superfluous works my book will be found free from 
poison, and that in composing this work I have en- 
joyed many pleasant hours. But if it is welcomed, 
if it is cherished by those who worship the 
Father in spirit and truth, those who have an hour 
of the Lord’s Day to spare for divine worship in 
the home, then I will not exchange this reward for 
any crown of laurels.” This collection contains 
sixty-five hymns. 

The hymnologist Skaar says: “It can scarcely 
be denied that there is a certain strained effect in 
some of Brun’s hymns. ‘This was a common char- 
acteristic of his times. And even where they are 
not directly bombastic, they are often more rhetor- 
ical than poetical. There is unusual power in his 
hymns, but this force is often expressed in terms 
that do not appeal to the heart. His didactic hymns 
are at times sentimental, but frequently they ap- 
proach the prosaic. A few of his hymns are strongly . 
allegorizing and exhibit both the strength and the 
weakness of this method. And, if his hymns are 
compared with those to which he refers by the num- 
bers in his book, the latter very frequently will be 
preferred. Nevertheless, several among the sixty- 
five hymns will be found to compare favorably with 
many of our best church hymns. ‘They all bear wit- 


108 


ness to a life in faith, which has its fountain in God 
Himself and which is nourished by His Word, and 
which thruout all time will appear like an oasis in 
the spiritual desert of his time.” 


Al 


Peace be to thy every dwelling. 
—C. A. POHLMAN. 


Ope hymn is found in the English Moravian 
Hymn Book of 1826. The melody was com- 
posed by the Danish musician, Dr. C. E. F. Weyse, 
to the hymn “‘Skulde jeg min Gud ei prise.” 

Charles Augustus Pohlman was born November 
18, 1777, in Herrnhut. In 1836 he became bishop 
of the Moravian Church. He died in Ockbrock, 
near Derby, November 17, 1843. 


438 
Lord, dismiss us with Thy blessing. 
—J. FAWCETT. 


eis hymn has entered into a large number of 

hymnals and is extensively used thruout the 
English-speaking countries. It has been translated 
into many languages, among others, also into Latin. 
Many claim that Fawcett is not the author of this 
hymn, as it is not to be found in his own hymn 
book published in 1782. But there are also other 
hymns by Fawcett, printed in the Gospel Magazine, 
which he did not include in his hymnal. The fact 
that the hymn was published anonymously in sey- 
eral hymn books from 1773 to 1780 does not prove 
anything, since these hymnals, as a rule, did not 


109 


give the names of the authors. In 1786 the first 
two stanzas were printed in a Unitarian hymnary, 
with “F.”, as mark of authorship, while in the 
register the full name is given, namely: “J. Fawcett, 
Non-Conformist preacher of Wainsgate.” The ed. 
of the hymnal, however, admits that his data may 
not be altogether trustworthy. But the York 
Hymnal of 1791 and likewise a collection of hymns 
printed in Dublin, 1800, both give Fawcett as the 
author of this hymn. Again, G. J. Stevenson re- 
lates that this hymn bore Fawcett’s name in a col- 
lection of Hymns for Public Worship published in 
Hull, 1774, by John Harris, and likewise that it 
appeared with Fawcett’s name in a hymn book 
printed in 1785. There is, therefore, all reason to 
accept the claim that Fawcett is the author of this 
hymn. There are indeed three other hymns which 
have a similar beginning, namely: 


1. Lord, dismiss us with Thy blessing, 
Bid us all depart in peace. 
—Dr. RoBert HAWKER. 


2. Lord, dismiss us with Thy blessing, 
Thanks for mercies past received. 
—H. J. BucKALtL. 


3. Lord, dismiss us with Thy blessing, 
Guide us in Thy holy ways. 
—UNKNOWN AUTHOR. 


The melody, called ‘‘Regent Square,” is composed 
by Henry Smart, an English church musician. It 
appeared for the first time in Psalms and Hymns 
for Divine Worship, 1867. 

_ John Fawcett, Baptist preacher of England, was 


110 





born January 6, 1739 (or 1740), in Lidget Green, 
near Bradford, Yorkshire. At the age of 16 he 
came under the influence of Whitefield and joined 
the Methodists, but three years later he became a 
member of the Baptist church of Bradford. In 
1765 he was ordained to the ministry and was in- 
stalled in the Baptist congregation of Wainsgate, 
Yorkshire. Seven years later, in 1772, he was 
called to London to succeed the famous Dr. J. Gills 
of Carter's Lane.) JHe accepted’the: call) After 
delivering his farewell sermon to the congregation 
at Wainsgate, six loads of household goods were 
brought up near the church preparatory to his leay- 
ing for London. But the congregation was not 
ready to bid him farewell. Men, women, and chil- 
dren thronged about their pastor and his family and 
wept. Fawcett and his wife also were moved to 
tears at the sight. Finally his wife said, ‘‘O John, 
I cannot endure this; I do not understand how we 
can leave this place.’’ ‘‘No, you are right,” he re- 
plied, “neither shall we leave.’”’ Then all their be- 
longings were unpacked and put in their old places. 
It has been thought that Fawcett upon this occasion 
wrote the famous hymn, “Blest be the tie that 
binds,’ which is such a favorite in Reformed circles. 
In 1777 the congregation built a new church near 
Heddon Bridge, and about the same time he opened 
a school in Brearly Hall, where he lived. In 1793 
he was offered the position of president of the Bap- 
tist academy at Bristol, but declined. In 1811 he 
received his diploma of doctor of theology from 
America. He died in 1817, at the age of 78. Dr. 
Fawcett wrote many treatises on theological themes, 
and a large number of hymns and spiritual songs. 


PA 


The greater number of his hymns are found in the 
collection, Hymus Adapted to the Circumstances of 
Public Worship and Private Devotion, Leeds, 
Wright and Son, 1782, in all 166 hymns. About 
20 of these are in general use. 


49 


Peace, to soothe our bitter woes. 
Fred til Bod for bittert Savn.—tLandst. 92. 
—N. F. $8. GRUNDTVIG. 


tS hymn appeared first in Kirke-Psalmer ud- 

givne til Prgve (Church Hymns published on 
Trial), by the committee on hymns, elected by the 
convention of Copenhagen ministers in 1845. Later 
the hymn was printed in Festival Hymns, second 
edition, 1850. Festival Hymns was the name given 
by the Vartou congregation to the supplement to 
the Evangelical Christian Hymn Book. ‘This sup- 
plement was later printed in many enlarged editions. 
The English translation used in The Lutheran 
Hymnary is by G. T. Rygh, 1908, somewhat 
changed. (The melody has been described under 
No. 40.) 

Nikolai Fredrik Severin Grundtvig was born 
September 8, 1783, in Udby, near Vordingborg, 
Denmark. His father, grandfather, and great- 
grandfather were ministers. Thru his mother he 
descended from the famous Hvid family. His 
father was one of the very few ministers of Den- 
mark who did not join the rationalist ranks, but 
remained true to the Gospel of Christ. In the 
childhood home the ruling spirit was that of the 
good old orthodox piety, and Luther was his hero; 


pUe 


but in the church and school the doctrine of reason 
reigned supreme, so that as Grundtvig grew up he 
was bound to be influenced by it. At the age of 
nine he was sent to a minister in Jylland to be edu- 
cated. Here he read Saxo’s works, Snorre, Hol- 
berg’s historical writings, and all sorts of old folk- 
lore. Suhm’s book on Odin and Heathen Myth- 
ology especially awakened his interest for North- 
ern mythology. He read aloud to the workmen in 
the shoe shop in the house where he resided. In 
that way he became familiar with the old Danish 
popular stories and fables. He began even then 
to write poetry. After two years’ study he passed 
the examen artium, 1800—tthe same year as Oeh- 
lenschlager—and three years later he took the ex- 
amination for the office of the ministry. During 
the last year of his study he grew wholly indifferent 
toward religion. He says himself that he ended 
his academic career without spirit and without faith. 
But he had also received impressions in another 
direction. His cousin, Henrik Steffens, lectured on 
natural philosophy and poetry, among other sub- 
jects, also Goethe, “‘the only class he truly appre- 
ciated.”’ Steffens showed him the importance of 
history and gave him a poetic insight into the beauty 
and glory of true Christianity as contrasted with a 
Christianity based on reason. The idea of a con- 
nection between the various periods of history and 
of Christ as the central fact of all history made a 
profound impression upon Grundtvig. He gained 
greater clearness on this subject during his three- 
year service as family tutor in Langeland. In his 
spare time he read Shakespeare, Goethe, Schiller, 
Fichte, Schelling, and others, and studied Old Norse 


113 


language and literature. In 1807 he wrote his first 
theological treatise on Religion and Liturgics, in 
connection with certain proposed changes in the 
liturgy of the Danish church. His intense study of 
this romantic literature and also an unfortunate ex- 
perience in love affairs stirred the chords of his 
heart. He also passed thru another crisis during 
this time which brought him to a deeper apprecia- 
tion of Christianity and history. Ocehlenschlager’s 
Nordiske Digte and Vaulunders Saga aroused 
Grundtvig’s interest in the ancient glory of the 
people of the Northern countries, and from now on 
he wrote several articles on the Edda Sagas and 
on Old Norse Mythology. In 1808 he returned 
to Copenhagen where he sought a professorship at 
the university. In the meantime he was appointed 
teacher of history in one of the Copenhagen schools. 
During the same year he published Northern Myth- 
ology or the Religion of the Eddas. In 1810 Scenes 
from the Northland; Life among the Giants, ‘The 
first represents the romantic conception of myth- 
ology as the poetic-symbolic garb of thought given 
to the popular view of life. It marks a turning- 
point in mythological research. In the second work 
Grundtvig desired to stir up his indifferent genera- 
tion to a realization of the glory of the past. Both 
were the products of his enthusiasm for the ancient 
glory of the Northern countries, a characteristic 
which never left him. As he busied himself with 
history and mythology his attention was more and 
more drawn towards true historic Christianity, and 
his relation of opposition to rationalism became 
more pronounced, ‘Then, in 1810, he delivered his 
famous probational sermon in Copenhagen. His 


114 


text was Why Has the Word of God Departed from 
His House? In this sermon he violently attacked 
the spirit of the times which had put the thoughts 
and commandments of men in place of the saving 
Gospel of Jesus Christ. ‘This sermon was printed 
and caused a great stir. The clergymen of the cap- 
ital sent in a protest against it, and Grundtvig was 
called to appear before the consistory of the uni- 
versity. The government board of justice (kan-, 
celli) decided that he should receive a reprimand, 
because, by having his sermon printed, he had be- 
trayed a vain desire for publicity. But all this only 
served to force Grundtvig deeper and deeper into 
the study of Christianity. He was now more de- 
termined than ever to keep aloof from the popular 
philosophy of Schelling. Ina little volume of poems, 
New Year’s Eve, 1811, he tells the story of his 
experiences, how he had learned to distinguish 
poetry and philosophical research from the truly 
religious, and that he now had arrived: upon true 
Christian ground and had come to a personal faith 
in Christ. The spiritual struggle which he had gone 
tru had so far undermined his health that he now 
sought relief by going home to his father’s parson- 
age. In the dedication of New Year’s Eve he an- 
nounces his future program as follows: 


Hvad er Kl¢gt, og hvad er alt, paa Jord 
mod det rene, klare Guddomsord! 
Derfor skal min Sang nu ene tone 

til hans Pris som steg fra Himlen ned, 
som os vilde med vor Gud forsone, 
skjenke os en salig Evighed. 


Nig 


He who had “‘thought it possible to approach God 
with giant strides, and not thru humble penitence” ; 
he who had “‘dreamt of accomplishing heroic deeds 
for the glory of his faith’; he who “had, indeed, 
been deeply stirred with enthusiasm for Christianity 
as the greatest spiritual power in the world,” but 
‘who had not yet beheld the cross’’; he “‘who had 
spurned the thought of becoming a village pastor” 
—now desired nothing more than to become his 
father’s assistant. This was granted to him in 1811. 
In the tranquillity of his childhood home he re- 
gained his peace of heart. In 1812 he published 
A Short Summary of World’s Events, which drew 
much attention and considerable discussion. After 
his father’s death he returned to Copenhagen, where 
he led a lonely life among his books and a few 
friends, among whom may be mentioned the poet 
Ingemann. At times he was given an opportunity 
to preach. His sermons always dealt with the con- 
trast between faith and unbelief, between the world 
and the Church. Hence, he was called a fanatic 
and mysticist, and one by one the churches were 
denied him. Finally, only the Fredriksberg church 
remained open to him. Here, in 1816, he delivered 
a series of Biblical Sermons. At the same time he 
carried on his literary efforts on a large scale. 
Among other publications should be mentioned, 
Bible Chronicle, Roskilde Poems, and Roskilde 
Saga, Little Songs, besides editing the periodical 
Dannevirke from 1816 to 1819. In this latter pub- 
lication he continued his attacks upon the rational- 
istic philosophers of his time and pointed to his- 
tory as the great and all-embracing proof of the 
truth of Christianity. This thought he developed 


116 


more fully in Survey of World Events, especially 
during the Lutheran era, published 1817. In 1818- 
1822 his translations of Saxo and Snorre appeared. 
He also found time to study English language and 
literature, and in 1820 he published a free trans- 
lation of Beowulf. Without application Grundt- 
vig was called to the pastorate of Prestg, south 
Sjelland, 1821, but it was his firm desire to labor 
in the capital city, ‘‘that city, from which unbelief 
was spreading over the land and from which all 
good movements ought to go out.’’ At his own 
urgent request he was appointed assistant in Our 
Saviors Church, Kristianshavn, 1822. It appeared 
during that period that the dawn of a new day had 
come in Europe. The war of independence in 
Greece heralded a new era. And Grundtvig, who 
‘felt the powers of a new morn,” wrote New Year’s 
Morn, 1824, which has been mentioned as ‘‘a 
mighty poem.” In the prelude he sent the follow- 
ing greeting to the peoples of the North: 


Guds Fred, hvor I bygge 
Paa Mark og paa Field, 
I Béogenes Skygge, 

Ved Elvenes Vala! 

Guds Fred over Skoven, 
Hvor Stammene staa. 
Guds Fred over Voven, 
Hvor Snekkene gaa, 

Som ankre, som flage 
Paa festlige Dage, 

Som end tone Fedrenes Flag. 


Guds Fred, som den fandtes 
I Fedrenes Barm, 


117 


Guds Fred, som den vandtes 
Ved Frelserens Arm, 

Guds Fred, som den troner, 
Avor Kjerlighet bor, 

Guds Fred, som den toner 

I Hytter av Jord, 

Som selv jeg den nyder, 
Tilgnsker og byder 

Jeg Brodre og Frender i Nord. 


During the summer of 1825 Professor H. N. 
Clausen published his The Constitution, Doctrine, 
and Ritual of the Catholic and the Protestant 
Churches. A few weeks later Grundtvig issued 
Kirkens Gjenmale (The Reply of the Church), in 
which he charged Clausen with false doctrine and 
demanded that he either retract or resign from his 
position as teacher. This article caused an extra- 
ordinary sensation. It appeared in three editions 
within a short time. Clausen, however, did not 
enter into arguments with Grundtvig, but took occa- 
sion, from the virulent expressions in the article, to 
sue him for libel. Grundtvig was found guilty and 
had to pay a fine and the costs of the trial. Even 
before the judgment was announced he resigned 
from his office, in 1826. In memory of his pastoral 
work he published Christian Sermons and Sunday 
Book. 

But during this time Grundtvig’s ‘‘views on the 
Church” took definite form. He took a firm stand 
on the baptismal confession of faith. For over a 
thousand years the Christian congregation had re- 
quired that all who desired to become members 
should make this good confession, 1. e., the renun- 


118 


ciation and the confession. Hence, he reasoned this 
must be the sum and substance of all Christianity, 
and the requirements for admission to the Christian 
congregation must have been laid down by Christ 
Himself. Thus, the confession is a word from the 
Lord’s own mouth; Baptism as the life-giving sacra- 
ment, and the Lord’s Supper as the life-sustaining, 
furnish the fountain of all Christian life. In close 
connection lies his conception of the living (oral) 
word and the dead (written). Spiritual life can 
be transmitted only by means of the “‘living” word; 
Jesus Christ, the Word who became flesh, still lives 
in His congregation, in His institutions, and in the 
words of the sacraments. ‘The Holy Scriptures are 
an indispensable book of information, but they are 
only a description of Christ and His work, they do 
not bring us Christ Himself. Together with Ru- 
delbach he had, in 1825, founded the Theological 
Monthly, and thru a series of essays in this magazine 
he now sought to develop and establish his views on 
the Church. During the years 1829-1831, being fur-, 
nished an allowance from the Danish king, he made 
several trips to England for the purpose of study- 
ing the old manuscripts of Anglo-Saxon literature, 
which, up to that time, had not been published. In 
fact, Grundtvig’s work gave impetus to the work 
of their publication. But these visits to England 
had great influence upon Grundtvig in another line. 
He was deeply impressed by the spirit of liberty 
enjoyed by the people of England. It taught him 
“with respect of freedom, as well as all other human 
agencies, to emphasize realities, with deep disdain 
for the empty theories of quill- ores: and book- 
worms.’ 


119 


His desire now was to work for the development 
of a free and vigorous civil life. In 1832 he pub- 
lished Northern Mythology or Emblematic Lan- 
guage, one of the most brilliant books in Danish 
literature. He considers the myths as emblematic, 
figurative representations of the moral views of the 
people, and that ‘“‘they are prophetic of the future 
of the nation.’’ In a series of essays he draws a 
comparison between the moral views of the Greeks 
‘and those of the peoples of the Northern lands. In 
1829 he published 4 Handbook of History Accord- 
ing to the Best Sources. 

His historical lectures in Borch’s College, 1838, 
made a great sensation and were heard by a large 
circle of influential men. But Grundtvig was in 
close touch with his age also in another connection. 
He was, indeed, without regular employment as pas- 
tor until 1839, but not without pastoral work. In 
March, 1832, he was permitted to use Fredrik’s 
German Church for evening services, but he must 
not administer Baptism or the Lord’s Supper, or 
confirmation. For seven years he gathered a free 
congregation here, and it served to keep alive the 
issues of interest for him. Even at an earlier period 
he had written several hymns and devotional songs, 
but it was really from this time that he became 
known as one of the most unique and forceful hymn 
writers of the Church. In 1837 he _ published 
Songs for the Danish Church. He continued writ- 
ing hymns during the following years to such an 
extent that, when they were all published after his 
death, they comprised five volumes of Hymns and 
Spiritual Songs, 1873-81. An abridged edition of 
one volume appeared in 1883. ‘The four-volume 


120 





edition contains translations and versions of the 
best hymns of all Christian churches outside of Den- 
mark, revisions of old Danish hymns, and original 
hymns. In The Seven Stars of Christendom, 1860, 
he gave a unique survey of church history. The 
striking characteristic of this work is the fact that 
“it contains Christian life thruout as a spiritual 
folk-life, which has for ages been in lively intercom- 
munication with the development and language of 
the principal nations of the earth.” 

Grundtvig also directed his attention to the school 
system, endeavoring to solve the problem of proper 
education for the rising generation. He was of the 
opinion that the current methods were too onesided 
and merely intellectual and that the ethical side of 
the child’s development should be emphasized more, 
so that, thru a more harmonious training of facul- 
ties, a better type of personality might be developed. 
He vigorously opposed the preponderance of the 
study of Latin, as well as the other dead languages 
in the schools, demanding that instruction be made 
more free and lively, and that the old “‘system of 
examinations” be abolished. He insisted on a de- 
parture from the old style of ‘bookworm spirit,” 
and would rather expend the time and energy of the 
pupil equipping him for the problems of real life; 
‘‘a consistent, joyful, active life on earth... with the 
eye, as it was created, turned toward heaven, yet 
open to all the beauty and glory here upon earth.” 
Such a life, he claimed, should be the final goal of all 
educational activities. Grundtvig’s ideas in this line 
had a very considerable influence upon the develop- 
ment of the Danish as well as the Norwegian educa- 
tional system. ‘Their special feature resulted in 


121 


the development of the popular high schools (fol- 
kehgiskoler). Grundtvig’s lyric poems furnish the 
key to a proper understanding of his genius. He 
subordinated form and style to thought. Hence, 
many of his poems are not masterpieces of art; 
gold and dross lie side by side in most of them. 
His chief aim was to express his poetic visions 
and feelings in their first freshness and _ origi- 
nality; ““Altid jeg sang hvad jeg hadde i Sinde,” 
(Always I sang what came to my mind). The 
fact that the expression thus produced became at 
times unclear and indistinct, did not worry him. 
‘“Transparency was not always the decisive mark of 
the truth,” was his reply. In many respects he was 
a true romanticist. He says, “‘It is, indeed, a strange 
thing to be a bard, we perceive the voices from 
above, in mysterious accents; what we say, we know 
not.” Love plays a minor part in his poetry, nature 
is subordinated, but otherwise, almost everything 
which can stir the feelings in the human breast has 
found expression in his productions. For this latter 
reason many of his songs are still popular among 
the people of his country. In 1897, seven volumes 
of his secular poems were published. 

In 1839 Grundtvig became pastor in Vartou, and 
gathered a large congregation which thru Christian 
living and congregational singing had a decisive in-. 
fluence upon the development of the Church. In 
1861, when he celebrated his golden jubilee as pas- 
tor, he was given the title of bishop. His friends 
presented him with a seven-armed candle-stick, and 
numerous other gifts as tokens of love and esteem. 
He died September 2, 1872, at the age of 89. He 
passed away quietly and peacefully, ‘like an autumn 


122 


sunset.”’ He delivered his last sermon on the day 
before his death. 

The most important of Grundtvig’s productions 
are his hymns. Asa writer of hymns he ranks above 
Kingo in poetic lights and in intensity of feeling. 
He is especially a ‘‘Pentecost songster,’’ and his 
church hymns aré unexcelled. While Grundtvig 
for some time spent a rather lonely existence, he 
gained, after a while, the respect and esteem of the 
greater number both in Denmark and in Norway. 
After the Haugean revival, which especially affect- 
ed the middle lower classes in Norway, there fol- 
lowed another awakening along the lines of Grundt- 
vig’s ideas, but this affected chiefly the upper classes, 
especially the clergymen and the teachers. Professors 
of the University of Norway, Hersleb and Stener- 
sen, were reais, staunch friends, and the fa- 
mous minister, W. A. Wexels, was in great measure 
influenced by him. In the main the influence of 
Grundtvig was strongly felt in the Church of Nor- 
way, until Johnson and Caspari opposed it with their 
strict Lutheran theology. But his influence was also 
felt in educational circles. Men like Herman Anker, 
Arvesen, Chr. Bruun, and Ullmann prepared the way 
for the papular high schools. Chr. Bruun, in his 
Folkelige Grundtanker, gives eloquent tribute to 
Grundtvig’s pedagogical prinsiples: ‘““Many reforms 
undertaken in the educational systems of Norway, 
during the latter half of the last century, especially 
the reduction in Latin requirements, and the co- 
ordination of the so-called ‘landsmaal’ and the ‘riks- 
maal’ (the popular language and the official lan- 
guage of the land) are in great measure due to the 
influence of Grundtvig’s ideas on popular education.” 


125 


And finally, the spirit of Grundtvig’s poetic and 
religious genius found its way to the hearts of the 
people thru the new expression which was given 
to it by Bjornson, who wrote many of his spiritual 
songs while under the influence of Grundtvig’s style, 
especially the song, ‘“Til Kamp da, Venner, for Kris- 
tendomslivet” (To arms, then, Friends, for Chris- 
tian life). 

Bishop Bang says: ‘‘Grundtvig is the most im- 
portant hymn writer of the 19th century; in this 
respect he ranks with Brorson of the 18th and Kingo 
of the 17th century.”’ Bishop Skaar: “His influence 
has especially been great in the line of awakening 
and strengthening Christian life, and that not only 
among those who have favored his views on these 
issues, but even among his opponents. His untiring 
opposition to rationalism; his work in speech and in 
song to open heart and vision to the objective truths 
of Christianity, and, especially, to the significance 
of the sacraments; all in all, his work has been rich 
in blessing both for the Danish and the Norwegian 
church.” 


a0 


How blessed is the little flock. 
Hvor salig er den lille Flok.—Landst. 82. 
—N. J. Horm. 
7 ene hymn appeared the first time in Harpen, a 
hymnal published in Christiania, 1829. Bible 
reference, 2nd stanza, Matthew 25:1-13; John, 21: 
15-17. The English translation is by the Rev. 
Carl Déving, 1906. ‘The melody, by Ludv. M. 
Lindeman, was printed in his Koralbog, 1871. The 


124 


hymn has gained great favor both in this country 
and in Norway. 

Nils Johannes Holm was born 1778, in Sonder- 
farup, near Ribe, Denmark. In 1820 he became 
superintendent of the congregation of the United 
Brethren of Christiania and served there until 1834, 
when he returned to. Denmark. He became pastor 
at Kristiansfeld, where he died in 1845. W. A. 
Wexels says concerning Holm: “Nils Johannes 
Holm is a man of keen appreciation, of considerable 
knowledge, and takes a lively interest in the affairs 
of the Kingdom of God. His lectures on Sunday 
afternoons are attended by a goodly number to 
considerable profit. He wrote a number of works, 
especially for children. His hymnal, Harpen, con- 
tains 366 hymns—original hymns, translations, and 
revisions of other hymns, intended mainly for the 
use of the congregation of ‘Brethren’ and ‘Friends.’ 
He edited and published a mission paper, which has 
attained its fifth volume, and serves as a connecting 
link between the ‘Haugeans’ and the ‘United Breth- 
ren.’ Thruout all this activity he has sought, accord- 
ing to his viewpoint, to extend the Kingdom of 
Christ. His writings will also attain this worthy 
end, but their Christian value would have been en- 
hanced if the language, the development, and the 
presentation of ideas had been given more of the 
Biblical character and spirit.” 


125 


ol 


And now we must bid one another farewell. 
Saa vil vi nu sige hverandre Farvel.—Landst. 93. 
—MAarTHA CLAUSEN. 


KAAR says: “‘We have here a hymn from the 

Christian assembly. It is very likely the em- 
issary's last word of admonishing to his people. 
These have been woven into the hymn. It is not 
possible to determine at what time the hymn was 
written. I can only state what the Danish hymnol- 
ogist, Rev. C. J. Brandt, has related to me: During 
the years 1830-40 this hymn was very commonly 
used in South Sealand, and after being orally trans- 
mitted, it was written down by F. Fenger. In Nor- 
way also, there are several such parting hymns. It is 
a strange thing that many of these hymns are com- 
posed for the melody of the Jephtha Ballad.” (Det 
hendte sig Jefta, den Gileads Mand, by Petter 
Dass). Later it has been claimed that the hymn was 
written by a woman, Martha Rasmussen, born 1815, 
in Rifbjerg, Langeland. In 1842 she married C. L. 
Clausen, who served as pastor in America from 
1843. Hence, if the hymn was actually in use dur- 
ing the “thirties,” she was very young at the time 
she produced this hymn. ‘The form which the hymn 
has been given in Landstad’s Hymnal is due to 
Grundtvig’s influence. Our English translation is 
by Rev. George Taylor Rygh, 1908. ‘The melody is 
by Lindeman, published in his Koral bog of 1871. 


126 


a2 


O happy day when we shall stand. 
O tenk, naar engang samles skal.—Landst. 94. 
—W. A. WEXELS. 


ats hymn was written for the general conven- 
tion of the Norwegian Mission Society, July 6th 
and 7th, 1846. It was written and published by 
W. A. Wexels in Nogle Missionssalmer. It was 
sung for the first time as the closing hymn of the 
morning service in Our Savior’s Church, Christiania, 
July 6, 1846. Since that time scarcely a mission 
service has been conducted where this hymn has 
not been used (Skaar). It has passed into general 
church use by being included in the supplement to 
the Evangelical Christian Hymn Book, Christiania, 
1853. From that time and on it has been one of 
the most favored and most extensively used hymns 
of the Norwegian Lutheran Church. The English 
translation employed in The Lutheran Hymnary is 
by the Rev. George Taylor Rygh, 1908. ‘The mel- 
ody is by Nicolaus Herman, 1554, and was origi- 
nally set to the hymn, ‘“‘Kommt her, ihr liebsten 
Schwesterlein.” It was later printed in Die’ Sonn- | 
tags Euangelia uber das ganze Jar in Gesange 
verfasset—durch Nicolaum Herman in Joachims- 
thal (Wittenberg, 1560). In this collection it ap- 
peared with Herman’s Christmas hymn, ‘“Lobt 
Gott, ihr Christen allegleich.” 

Wilhelm Andreas Wexels was born in Copen- 
hagen, March 29, 1797. His father, Fredrik Nan- 
nestad Wexels, the son of a Norwegian clergyman, 
was manager of ‘“‘glasmagasinet’’ in Copenhagen. 
His mother, Bolette Katrine Balling, was a Danish 


Vad 


woman. Wilhelm began his education at the Metro- 
politan School of Copenhagen in 1807. ‘Two years 
later his mother died, and his father moved back to 
Norway. Their two sons remained in Copenhagen, 
where Wilhelm took “‘examen artium” in 1814. The 
following year he also went to Norway and was en- 
rolled as ‘‘academic citizen” at the University of 
Christiania. In 1816 he took ‘‘second examination” 
and began his theological studies under Hersleb and 
Stenersen. The latter especially exerted great 
Christian influence upon him. In 1818 he took 
his degree examination with excellent grade and in 
May following, he was appointed to the office of 
catechist in Our Savior’s Church in Christiania. In 
1846 he became residing curate of the same church, 
and remained in this office until his death, May 14, 
1866. 

Wexels was at first rather isolated thru his vio- 
lent attacks upon rationalism and on account of his 
religious views formed under the influence of Grundt- 
vig. For a time he was ridiculed and scoffed at, 
called ‘‘the holy minister,’ and he preached to empty 
pews. But in time he gained extraordinary fame both 
as preacher and author. Enormous crowds came 
to hear his sermons. ‘This continued even thruout 
his old age. He exerted a greater influence than pos- 
sibly any other Norwegian minister of his time. : In 
1828 he published a treatise against The Spirit of 
Christianity, or the Evangelical Doctrine, written by 
the philosopher, Nils Treschow. Treschow’s answer 
brought a second reply from Wexels, and this dis- 
cussion served to bring greater clearness into the 
current conception of what Christianity really is. 
From 1834 to 1839 he edited a theological maga- 


128 


zine; 1837-1854 his Commentary to the New Testa- 
ment Writings appeared in four parts. But his im- 
portance in church work must be measured thru his 
-volumes of sermons and devotional writings. His 
Book of Devotions for the Common People has 
been published in 13 editions, and The Bible History 
in 20. His volumes of hymns have also enjoyed great 
popularity. In 1834 he issued Hymn Verses, Select- 
ed from Old Hymns, for Use in the Home and 
the School. Six years later appeared the collection 
Christian Hymns; gathered, arranged, revised, and 
edited for use at family devotions, and this was to 
serve as a contribution to the future hymnal of the 
Norwegian Lutheran Church. This voluminous 
work contains 714 hymns; of these, 15 are original; 
about 50 are translations from Wallin’s Swedish 
Hymnal, and some from the German. A second edi- 
tion was published in 1844 containing 747 hymns. 
The following year he issued 4 Collection of Chris- 
tian Hymns for Use in Connection with Religious 
Instruction. ‘This contained hymns selected from 
the larger edition, published the previous year. His 
Mission Hymns appeared in 1846. This contains 
some of the best hymns produced by Wexels. Many 
of these have been accepted into the hymn books 
of the church. Among these may be mentioned, ‘‘O 
happy day when we shall stand,” ‘‘Herre vor Gud 
med det dmmeste Hjerte,” ‘“‘Milde Jesu, her vi staa.”’ 
In 1849 he published Hymn Book, Gathered and 
Arranged, together with Meditations and Prayers. 
This contains 504 hymns, ‘‘And,” says the author, 
‘let it be considered as a proposal for a general 
church hymnal, submitted to the gracious judgment 
of Christians.’”’ ‘This volume, which contained var- 


129 


ious selections from his former publications, was 
sharply criticized by M. B. Landstad, whose words 
bore the marks of zeal rather than of consideration. 
This criticism provoked considerable discussion. ‘The 
result was that a committee was appointed to pre- 
pare a draft for a new hymn book, a selection from 
Wexels’ hymnals, for use in addition to the Evangel- 
ical Christian Hymnary. The committee consisted 
of Wexels, Grimelund, and Jorgen Moe. ‘The Sup- 
plement to the Evangelical Christian Hymnary, 
Prepared by a Committee of the Church in Christi- 
ania was by royal decree of 1853 authorized for use 
in Our Savior’s Church. Later the decree was ex- 
tended to other congregations. Wexels prepared 
yet another edition of Christian Hymns, 1859, which 
contained 850 hymns. Bishop Skaar says of this 
hymnal that the author here showed greater care 
in retaining the older form of the hymns. 

Finally, we quote Skaar’s estimate of this prolific 
hymn writer: ‘‘“As Wexels exerted a great and bles- 
sed influence upon the conditions of the Church of 
Norway, likewise did he bring a beneficial influence 
to bear upon the congregational singing thruout 
the Church. Altho he was not in the strictest sense 
a great hymn poet, still he produced several hymns 
which will be sung in Norway as long as the name 
of Christ is confessed. But especially does he de- 
serve to be remembered for having brought to light 
again the old treasury of Christian hymns, thus 
helping to ‘turn the heart of the children to their 
fathers’ (Malachi 4:6).” 


130 


a3 


Praise to Thee and adoration. 
Lov og Tak og evig A:re.—Landst. 26. 
a Ee ENCE 


| Boia hymn appeared first in the author’s En Ny 
Kirke-Psalmebog (Vinterparten), 1689. It is 
based upon the Gospel lesson for ‘‘Third Day Christ- 
mas,” John 21:19-24. In Kingo’s Hymnal it 1s 
listed as the closing hymn for that festival day. In 
Guldberg’s Hymn Book the hymn is ordered to be 
“sung after the sermon from Christmas until Candle- 
mas.” It has been very commonly used as the clos- 
ing hymn of the service, and is one of the hymns 
which possibly the greater number of church goers 
know by heart. The English translation was ren- 
dered by the Rev. Kr. Kvamme, 1904. The melody 
was either composed or arranged by Louis Bour- 
geois.* (See notes on No. 1.) It was later arranged 
for church use by the famous church musician, 
Claude Goudimel, 1573. It has been claimed that 
the melody was used for a French hunting song. 
It was set to the 42nd Psalm, because the Dauphin, 
the later Henry II, valued Marot’s metrical ver- 
sion of the 42nd Psalm so very highly and sang it 
to the above mentioned melody of the hunting song. 
Thru Lobwasser’s translation of the French Psalter, 
it entered the hymn treasury of the Lutheran Church, 
where it has held its rank until our days as one of 
the grandest and most commonly sung of all the 
melodies of church music. It was early connected 
with Heermann’s ‘‘O what precious balm and heal- 


*Others say Guillaume Franc. 


131 


ing, Jesus, in Thy wounds I find” (L. H. 297). It 
has also been used as a setting for a great number of 
other hymns in the church. 


a4 


Savior, again to Thy dear name we raise. 
—J. ELLERTON. 


| Pees hymn was written in 1866 for a meeting of 
the Malpas, Middelwich, and Nantwich Choral 
Association. Originally it had 6 stanzas. Later it 
was revised and abbreviated and was thus printed 
in a supplement to Hymns Ancient and Modern, 
PROB WELb 18 very commonly used as the ate 
hymn of the evening service. 

John Ellerton was born December 16, 1826, in 
London. He was educated at King William’s Gai 
lege, on the Isle of Man, and at Trinity College, 
Cambridge, where he graduated in 1849. The 
following year he was ordained and appointed as- 
sistant pastor of Easebourne. After serving in a 
number of places, he was, in 1876, appointed to the 
rectorship of Barnes and in 1886 to the pastorate 
of White Rodney, in which place he remained until 
his death in Torquay, June 15, 1893. Together with 
Wm. Walsham How, Ellerton edited Church 
Hymns, 1871, and in 1881 he published Notes and 
Illustrations of Church Hymns. As early as 1859 
he had published Hymns for Schools and Bible 
Classes. ‘He has written in all about 50 hymns and 
10 or more translations from the Latin. Nearly 
all his hymns are in common use and a good num- 
ber of them are very popular. 

The melody (Benediction) was composed in 


132 


1867 for this hymn by E. J. Hopkins. Edward 
John Hopkins was born 1818, in Westminister, Lon- 
don. While a child he sang in the choir of Chapel 
Royal. He was organist in Temple Church, Lon- 
don, from 1844 until 1898. While in this position 
he prepared the Temple Choir Service Book and 
composed many church melodies and anthems. He 
also wrote music for the church organ and prepared 
a number of adaptations from older church tunes. 
Together with Dr. Rimbault he wrote and published 
a valuable treatise on the history of the organ. 
Hopkins died in 1901. 


DO 
Sweet Savior, bless us ere we go. 
—F. W. FABeEr. 


| Dox hymn appeared for the first time in the au- 
thor’s Jesus and Mary, first edition, 1849, and 
again in Hymns, 1862. It contained 7 stanzas. It 
was composed in 1849, for use at the evening 
service in the Roman Catholic oratory of London, 
where Dr. Faber served as superior. In a few 
hymnals the first line reads: ‘“‘Dear Savior, bless,” 
or “O Savior, bless.” Two stanzas of the original 
are omitted in The Lutheran Hymnary. 

The melody (St. Mathias) is by W. H. Monk, 
English church musician, 1823-89. It has the name 
of the church at Stoke Newington, where Monk was 
organist. 

Frederick William Faber was born June 28, 1815, 
in Yorkshire, England. The family descended from 
the Huguenots. His parents died while he was yet 
young. Faber was educated at Balliol College, Ox- 


E35 


ford, where he received his degree of bachelor of 
arts in 1836. He was for a time Fellow at Univer- 
sity College. After taking the theological examina- 
tion he became rector of Eton, Huntingdonshire, 
1843. Here he came under the influence of Cardi- 
nal Newman, and joined the Catholic Church in 
1846. When he came to London in 1849, he or- 
ganized an order called The Oratorians, or Priests 
of the Congregations of St. Philipp Neri. Here 
he labored until his death, in 1863. His hymns, 
150 in number, were published after he had joined 
the Catholic Church. A few of his hymns are justly 
held in high esteem. Among these may be men- 
tioned the four which have been taken up in The 
Lutheran Hymnary. His Hymns were published 
in one volume in 1862. Faber was an idealist. He 
is spoken of as a pious and amiable personality. 


26 
Almighty Father, bless the Word. 


4 pa author of this hymn is not known. ‘The mel- 
ody is of French origin; possibly composed by 
Louis Bourgeois, a French musician of the 16th 
century. The melody appeared first together with 
Clement Marot’s song on the ten commandments. 
Later it was arranged for church use by the famous 
French musician Claude Goudimel and was set to 
Beza’s paraphrase of the 140th Psalm. In Ger- 
many and the Northern countries this melody was 
also used for Paul Eber’s hymn, ‘‘Wenn wir in 
hdchsten Nothen sein” (Naar vi 1 st6rste ndden 
staa, Landst. 220; Lutheran Hymnary, 524). 


[34 


57 
Abide in grace, Lord Jesus. 
Bliv med din store Naade.—Landst. 663. 
Ach bleib mit deiner Gnade. 
—J. STEGMANN. 


ae in grace, Lord Jesus’ was first pub- 

lished in Stegmann’s Suspiria Temporum, 
1628. In J. Clauder’s Psalmodia Nova, Stegmann 
is said to be the author of this hymn. It has found 
a place in a large number of hymn books of many 
churches. It was one of the favorite hymns of 
Friedrich Wilhelm IV of Prussia. Many English 
translations have been made. The melody by Mel- 
chior Vulpius, 1560-1615, a German church musti- 
cian, appeared first in Ein schon geistlich Gesang- 
buch, Jena, 1609. 

Josva Stegmann, son of Ambrosius Stegmann, a 
German Lutheran minister, was born September 
14, 1588, in Stlzfeld. He was educated at the 
University of Leipzig and served for a time as as- 
sistant teacher in the department of philosophy. In 
1617 he was appointed pastor of Stadthagen, prin- 
cipal of the gymnasium in that city, and superin- 
tendent of the Schaumburg district. During the 
same year he was created doctor of theology by the 
University of Wittenberg. In 1621 he was ap- 
pointed ordinary professor at the University of 
Rinteln, but had to flee in 1623 on account of the 
war. When he later returned he had to suffer a 
great deal on account of the demands which the 
Catholics made upon the institution and its property, 
which formerly had belonged to the Benedictine 
Order. Stegmann died 1632, in Rinteln. He 
wrote several Latin poems while a student at Leip- 
zig. Hecomposed a considerable number of hymns. 


135 


a8 


Draw us to Thee in mind and heart. 
Drag, Jesus, mig op efter dig.—Landst. 414. 
Zeuch uns nach dir, so kommen wir. 

—F’. FUNCKE. 


ANDSTAD and Skaar have _ erroneously 

ascribed this hymn to F. Fabricius*. ‘“The words 
of the bride, in the Song of Solomon 1:4: ‘Draw 
me, we will run after thee’ are beautifully rendered 
in. this hymn” (Skaar). It appeared first in the 
Liineburg Stadt-Gesangbuch, 1686; was taken up by 
Freylinghausen in his Gesangbuch, 1705, and later 
in many Lutheran hymnals. The version which ap- 
peared in J. H. Schrader’s Vollstandiges Gesang- 
buch, ‘TYondern, 1731, was translated into Danish 
by H. A. Brorson and printed in Nogle Himmel- 
farts- og Pindse-Psalmer, Tgndern, 1734. It was 
taken up unchanged in Pontoppidan’s Hymnary, and 
later somewhat altered in Hauge’s and Landstad’s 
editions. ‘The composer of the melody is not known. 
It appeared first in 1625 in connection with the 
hymn, ‘Ach Gott und Herr’ (Ak Herre from, 
Landst. 389), by M. Rutilius and J. Grosz. It is 
found in minor in a collection by J. Schein of 1627, 
enain major in) ©. Peter's’ edition, L605) (Later 
it was somewhat altered, and harmonized by J. S. 
Bach. The Danish-Norwegian translation has been 
given a different meter and is sung to the melody, 


BOetijertens’ Ve,og Sore atise’)( Uandst. 336,) L: 


*The hymn had also previously been ascribed to Angelus 
Silesius (Scheffler), and to Ludomilia Elisabet, who have writ- 
ten hymns with a somewhat similar beginning. 


136 


H. 322). Our English version is a free rendering 
by A. T. Russell (See No. 26). 

Friedrich Funcke was born in Nossen, Hartzen, 
and was baptized March 27, 1642. He attended 
the schools of Freiberg and Dresden. He also 
studied music and was appointed cantor at Perle- 
berg and later at Luneburg. In 1694 he was given a 
pastorate near Liineburg and died there in 1699. 
He revised the Liineburg Hymnary, adding 43 mel- 
odies and 7 hymns. 


39 
Savior, now the day is ending. 
—SARAH DOUDNEY. 


] Base hymn, designed as a closing hymn for the 
evening service, was printed in Sarah Doudney’s 
Songs of Gladness, 1871, and is considered one of 
her best hymns. ‘The melody is by Johann Chris- 
topher Bach (1645-95). Since 1693, possibly ear- 
lier, this melody has'been used with H. ‘Held’s 
hymn, “‘Komm, O komim, du Geist des Lebens” 
(L. H. No. 426; Landst., American ed.,. 444). 

Sarah Doudney was born in Portsmouth. Shortly 
after her birth, her parents moved to a small village 
in Hampshire. Her first poem, The Lessons of 
the Watermill, written when she was 15 years of 
age, was very popular. She wrote short stories 
and contributed to the Sunday Magazine and other 
publications. Her stories, poems, and _ spiritual 
songs, are to be found in various magazines. Psalms 
of Life and Songs of Gladness were published in 
1871. 


137 


60 


O worship the King. 
—R. GRANT. 


4 Pe beautiful hymn of praise is a revision of an 
old paraphrase upon the 104th Psalm, written 
in 1561, by William Kethe: ‘My soul, praise the 
Lord, Speake good of His name.’ Grant’s hymn 
was first printed, 1833, in Bickersteth’s Christian 
Psalmodie. It appeared again, 1835, in Elliott’s 
Psalms and Hymns, and in Sacred Poems, 1839. 
Later it has been given a place in many hymnals. 
It was translated into Latin, 1871, by R. Bingham: 
“Glorioso ferte Regi, vota vestra carmine.” ‘The 
melody (Hanover or St. Georges) has been ascribed 
to W. Croft; to G. W. Handel; and to T. Tallis. 
It is not found listed among Croft’s melodies, but 
it is generally accepted as being composed by him. 
It is a stately and festive melody, which always has 
been attached to this hymn. 

Sir Robert Grant was the second son of Charles 
Grant, famous philanthropist, statesman, and mem- 
ber of parliament from Inverness. He was born 
in 1785. He was educated at Magdalen College, 
Cambridge, together with his elder brother Charles 
(later Lord Glenelg). Robert studied law and 
became a lawyer, 1807; member of parliament, 
1826; privy councillor, 1831; governor of Bombay, 
1834. He died in Dapoorie, West Indies, 1838. 
In 1839 his brother, Lord Glenelg, collected and 
published 12 of his hymns under the title: Sacred 
Poems, by the Right Hon. Sir Robert Grant, Lon- 
don, 1839. New editions were made in 1849 and 
1868. Grant ranks high as a writer of hymns. 


138 


His hymns are characterized by grace and beauty 
of style, and intense religious feeling. The two 
hymns which have been included in The Lutheran 
Hymnary are sung wherever the English language 
is used. 


61 


O God, the Rock of Ages. 
—E. H. BICKERSTETH. 


T HIS hymn was written in 1862 and printed in 
the author’s From Year to Year, appearing there 
to be used on the last Sunday of the church year. 
It is based on Is. 40:8; 35 :38-40; Gal. 4:1-8; Matt. 
1:18. The melody (Aurelia) was first composed 
for the hymn, ‘‘Jerusalem the golden” (L. H. 614), 
and printed in Selections of Psalms and Hymns, 
i864. It was composed by S. S. Wesley (1810- 
1876), grandson of Charles Wesley. He was at 
his time one of the leading church musicians in 
England. 

Edward Henry Bickersteth, the son of Rev. Edw. 
Bickersteth, who was rector of Walton and editor 
of The Christian Psalmody, was born 1825 in Is- 
lington and was educated in Trinity College, Cam- 
bridge. He was ordained to the ministry in 1848; 
was assistant pastor at Banningham, Norfolk; later, 
1855-1885, he served as vicar of Christ Church, 
Hampstead. In 1885 he was made dean of Glou- 
cester, and the same year was ordained bishop of 
Exeter. Bickersteth wrote several volumes of po- 
etry and prose. He was an eminent hymn writer 
and materially helped the cause of congregational 
singing by editing several hymnals of high rank. 


139 


Among these may be mentioned: Psalms and Hymns, 
1858, following, in the main, his father’s Christian 
Psalmodie; Yesterday, Today, and Forever, 1867; 
The Hymnal Companion to the Book of Common 
Prayer, 1870. From Year to Year, 1883, contains 
his hymns and spiritual songs. Bishop Bickersteth 
died May 16, 1895, in London. 


62 


Lord, Thy glory fills the heaven. 
—R. Mant. 


pe first stanza of the original has been omitted: 
“Bright the vision that delighted,” etc. This 
stanza has been omitted in several hymnals. ‘The 
hymn first appeared in Ancient Hymns, published 
by the author in 1837. It is based on Is. 6:3: ‘And 
one cried unto another and said; Holy, Holy, Holy 
is the Lord of hosts; the whole earth is full of 
His glory.”” The melody (Rex Gloriae) was com- 
posed for a supplement to the first edition of Hymns 
Ancient and Modern, 1868, used there as a setting 
for the hymn, ‘See the Conqueror mounts in tri- 
umph.”’ 

Richard Mant was born February 12, 1776, in 
Southampton (the birthplace of Watts). His fa- 
ther was the rector of All Saints’ Church, and was 
noted for his learning. Richard was educated at 
Winchester School and at Trinity College, Oxford, 
where he took examinations in 1801. At first he 
served as assistant to his father. In 1810 he became 
vicar of Coggeshall, Essex, and in 1813 was ap- 
pointed assistant to the archbishop of Canterbury. 
He served in London from 1816 until 1820, when 


140 


he was appointed bishop of Killaloe, Ireland. Three 
years later he removed to the bishopric of Dawn 
and Connor. In 1842 he was promoted to the posi- 
tion of bishop of Dromore. He died November 
2, 1848. Bishop Mant was a prolific writer. He 
wrote a great number of hymns which are to be 
found scattered thruout his works. Among’ the 
collections published may be mentioned The Book 
of Psalms in an English Metrical Version, 1824; 
Ancient Hymns from the Roman Breviary. As a 
supplement to the latter, Original Hymns were pub- 
lished in 1837. 


63 


Heaven and earth, and sea and air. 
Himmel, Erde, Luft und Meer. 
—J. NEANDER. 


Dian is a beautiful hymn of praise and thanks- 
giving for God’s glorious work of creation and 
His majesty in nature, based on Acts 14:17. It ap- 
peared first in Neander’s Glaub-und Liebes-Uebung; 
Aufgemuntert durch einfaltige Bundes-Lieder und 
Danck-Psalmen, Bremen, 1680, under the title: Joy 
over the Creative Work of God, and, A Hymn for 
Travellers by Land or Water. ‘The English trans- 
lation is by James Drummond Burns, pastor and 
hymn writer, born 1823, in Edinburgh and educated 
in the university of that city. He was in charge of 
the free church of Dunblane from the year 1845, 
later, of Funchal, Madeira, and in 1855 he came 
to Hampstead Presbyterian Church, London. He 
died in 1864. ‘The melody (Libeck) first appeared 
in Freylinghausen’s famous Geistreiches Gesangbuch, 


141 


Halle, 1704. In this collection the melody was used 
for the hymn, “Gott sei dank in aller Welt.” 


64, 
My God, how wonderful Thou art! 
—F. W. FaBeEr. 


| pass hymn was first published in Jesus and 
Mary, 1849. It appeared there in 9 four- 
lined stanzas under the title The Eternal Father, 
and later, 1862, it was included in his Hymns. ‘The 
hymn is extensively used, but often abbreviated. The 
first line is also varied in several hymnals. 

The melody (Dundee) is one of the good old 
church tunes from the Scotch Psalter, 1615. The 
melody is there called ‘‘French Tune,” but its French 
origin has not been definitely established. The 
Scotch “Dundee” is our ‘“‘Windsor” (L. H. 314). 


65 
O bless the Lord, my soul. 
—J. MONTGOMERY. 


Ree paraphrase, based on the 104th Psalm, ap- 
peared first in Cotterill’s Selections, 1819. The 
melody (Schumann or Heath) has been arranged 
from one of Robert Schumann’s melodies (1810- 
56). 

James Montgomery was born in Irvine, Ayrshire, 
1771. His father, John Montgomery, was Irish 
and a minister of the Moravian Church. It was 
decided that James should also become a minister 
in the same church, and he was sent to their seminary 
in Fulneck, near Leeds. His parents were sent as 


{42 


missionaries to the West Indies, where both died. 
Their son, compelled to give up his plan of entering 
the ministry, left Fulneck in 1787. He was given 
a position by a merchant of Mirfield, where he 
worked for a year and a half. One more year 
was spent in another little village. ‘Then we find 
him setting out for London with a few of his 
poems in manuscript. He wished to have them 
printed and tried to secure the aid of a publisher, 
but without success. Later, in 1792, he was given a 
position by a publisher in Sheffield, which town 
became his future home. ‘The owner and editor 
of The Sheffield Register was a man named Robert 
Gales. He was a liberal minded journalist, who 
shared many of the views of young Montgomery. 
Gales openly espoused the cause of the common 
people, but fell out with the authorities and was 
forced to leave Sheffield in 1794. 

Montgomery now became owner and editor of the 
paper and changed its name to The Sheffield Iris. 
The policy of the paper remained liberal and radical, 
and Montgomery was imprisoned and fined two 
times for “seditious articles.” In 1797 he published 
a volume of poems entitled Prison Amusements, 
because some of them had been written while he 
was in the prison at York. For 30 years he served 
as the editor of the paper. For a space of 50 years 
he contributed poems and hymns which brought him 
fame and extended his influence. Aside from his 
editorial and literary work, he was a lecturer and a 
zealous worker for missions and for The Bible So- 
ciety. His lectures on English literature and later, 
those dealing with poetry and literature in general, 
delivered before the Royal Institute, aroused great 


TAS 


interest, and were printed both in London and in 
New York. 

In 1833 Montgomery was granted a royal pen- 
sion of 200 pounds annually. He was never mar- 
ried. At the age of 83 he died, while sleeping, and 
he was buried at public expense. A fine monument 
was erected in his memory in the Sheffield cemetery. 
A Wesley chapel and another public building in 
Sheffield bear his name. He wrote between 400 and 
500 hymns. As a hymn writer he ranks among the 
best, with Watts, Wesley, Newton, and Cowper. 
His best hymns, however, were written during his 
earlier days. In later years he wrote too much. 
About 100 of his hymns are in general use. Like 
many others, Montgomery detested those who took 
liberties with his poems, while he himself, without 
further ado, undertook to change hymns such as 
“Rock of Ages” and “There is a Fountain filled with 
Blood; for which he was justly criticized. In 
general, however, Montgomery deserves the best 
of praise. He was a talented poet, had a broad 
view of life, and was filled with a pious spirit. He 
could express deep Christian feelings without becom- 
ing sentimental. With a firm faith he combined a 
child-like, pious mind. He had acquired a very thoro 
knowledge of the Bible. His hymns bear the marks 
of a fine sense of rhythm and musical expression. 

A list of his principal works includes the follow- 
ing: 

1. Prison Amusements, 1797. 

2. The Wanderer of Switzerland, 1806. 

3, The West Indies and other Poems, 1807, in 

which he praises the abolition of negro 
slavery. 


144 


The World before the Flood, 1813. 
Greenland and other Poems, 1819. 

Songs of Zion, 56 Hymns, 1822. 

The Christian Psalmist, 100 Hymns, 1825. 
The Christian Poet, 1825. 

The Pelican Island, 1828. 

The Poets Portfolio, 1835. 

Original Hymns for Public, Private, and So- 
cial Devotion, 1853, containing 355 hymns 
and 3 doxologies. He also contributed many 
hymns to other hymnals. A great number 
of his hymns were first printed in The Shef- 
field Iris. His poetical works were published 
in four editions, 1828, 1836, 1841, and 1854. 
Grundtvig has translated two of Montgom- 
ery’s hymns. 


mH OOO ANA 


66 


Majestic sweetness sits enthroned. 
—S. STENNETT. 


Ae original of this hymn, a contribution to Rip- 
pon’s Selection, 1787, contained 9 stanzas, with 
the first line: ““To Christ the Lord let every tongue.” 
It is based on ‘The Song of Solomon 5:10-16, and 
has the title: Chief among Ten Thousand, or The 
Excellencies of Christ. ‘The hymn begins here with 
the second stanza of the original. ‘The melody 
(Castle Rising) was written for this hymn by the 
Rey. Fredrick Alfred John Hervey, court chaplain 
of the King of England. 

Samuel Stennett, grandson of the ae writer, 
Joseph Stennett, and son of the Rev. Dr. 
Joseph Stennett, was born 1727, in Exeter, where 


145 


his father served as Baptist minister. His father 
later removed to Little Wild Street Baptist Church, 
London. In 1748 Samuel became his father’s as- 
sistant and later his successor in the London church. 
He died in London in 1795. Stennett was a highly 
respected and influential personality; an able and 
zealous advocate of religious liberty. Even some 
of the statesmen of his day were influenced by him. 
The famous philanthropist, John Howard, was a 
member of Stennett’s congregation. King George III 
was his personal friend. Stennett published volumes 
of sermons and pamphlets and wrote 39 hymns. 
In 1763 he was given the degree of doctor of the- 
ology by King’s College, Aberdeen. 


67 
High in the heavens, eternal God. 
—I. Watts. 


eae hymn is a paraphrase of the 36th Psalm, 
verses 5-10: “Thy mercy, O Lord, isin the 
heavens; and Thy faithfulness reacheth unto the 
clouds. Thy righteousness is like the great moun- 
tains; [hy judgments are a great deep: O Lord, 
Thou preservest man and beast. How excellent is 
Thy loving kindness, O God! therefore the children 
of men put their trust under the shadow of Thy 
wings. hey shall be abundantly satisfied with the 
fatness of Thy house; and Thou shalt make them 
drink of the river of Thy pleasures. For with Thee 
is the fountain of life: in Thy light shall we see 
light.” 

The melody (Melcombe, also called Granton, 
and St. Philip) is by Samuel Webbe (1740-1816). 


146 


It appeared first in 4n Essay on the Church Plain 
Chant, 1782, without the composer’s name, as a 
setting for ‘“‘O salutaris hostia.’ In Harrison’s 
Sacred Harmony, 1791, and in Webbe’s Collection 
of Motets and Antiphons, 1792, Watt’s name is at- 
tached to this hymn. : 


“OG 
O Love, who formedst me to wear. 
Liebe, die du mich zum Bilde. 
—J. SCHEFFLER. 


Ay aite hymn ranks as one of the most beautiful 
Jesus-hymns of the Christian Church. It ap- 
peared first in Scheffler’s Heilige Seelenlust, 1657. 
It has six stanzas and is based on John [:4-16. The 
English translation by Miss Winkworth was printed 
in the second part of her work, Lyra Germanica, 
1858. A missionary named Schultze, engaged in mis- 
sion work in Madras, India, saw this hymn in Frey- 
linghausen’s Hymnal. He sang it with great joy 
and translated it at once into the Malabarian tongue 
for the use of his mission. Later he translated over 
100 German hymns which are still sung by the 
natives of those parts. This hymn is found in the 
New Zealand Hymnal of 1870. ‘The melody 
(Machs mit mir, or Eisenach) by J. H. Schein, was 
first printed in a little pamphlet with the hymn, 
‘‘Machs mit mir, Gott, nach deiner Gut,’’ and later 
it appeared in Schein’s Cantional, Leipzig, 1645. In 
Schein’s Choralgesdnge there are two arrangements 
by J. S. Bach. 

Johann Scheffler (Angelus Silesius) was born 
1624 in Breslau in Silesia. ‘His father, Stanislaus 


147 


Scheffler, was a Polish nobleman, but was forced 
to leave his country because of his adherence to the 
Lutheran faith. He moved to Breslau and here the 
son was educated in the Lutheran faith and doctrine. 
He completed the course of study in the Breslau 
Gymnasium and later studied medicine at Strass- 
burg, Leyden, and Padua. He received the degrees 
of doctor of medicine and of philosophy and was 
appointed as private physician to the German Duke 
of Wiirttemberg-Oels. Scheffler was attracted by 
the mystics and applied himself seriously to the 
study of Tauler, Jacob Bohme, and Thomas a 
Kempis. After some time he became convinced 
that the Lutheran Church had become entangled in 
dead literalism. In his position he was in constant 
touch with Lutherans. He began to give expression 
to his views, and this brought him into a controversy 
which ended with his joining the Catholic Church. 
In 1653 he was formally accepted as a member. 
Now he adopted the name Angelus, very likely in 
memory of the Spanish monk and mystic, John 
ab Angelis. The name Silesius was added, so that he 
should not be mistaken for the Lutheran theologian 
Johann Angelus of Darmstadt. In 1654 he was 
appointed imperial court physician to Ferdinand 
III. This was, however, only honorary. In 1661 
he joined the Franciscan order and was ordained 
to the priesthood and sent to Niusse, Silesia. In 
1664 he became councillor and lord steward to his 
friend Sebastian von Rostock, the newly elected 
prince bishop of Breslau. After the bishop’s death, 
in 1671, Scheffler retired to the St. Mathias cloister 
in Breslau, where he died in 1677. 

Scheffler began to write hymns at an early age. 


148 


One collection, 206 in number, under the title Heilige 
Seelenlust, oder Geistliche Hirtenlieder, was pub- 
lished in 1657, and later an edition appeared with 
50 new hymns added. In view of the circumstances, 
it was but natural that his hymns should possess 
mystic tendencies. They are marked by deep sincer- 
ity. The keynote of his song is the intense yearning 
of the soul after unton with God. ‘The greater 
number of his hymns were written before he became 
a Catholic. ‘They were received with joy, and are 
extensively used in the Lutheran Church. ‘We 
sing his hymns with a rejoicing which is intensified 
accordingly as Jesus becomes our all in all” (Skaar). 
His reputation as a writer of hymns is growing. 
Some of his hymns were recently translated and pub- 
lished in Scribner's Monthly. G. McDonald says 
that Scheffler’s hymns are a force in showing forth 
the beauty of the Church of God. Bishop Skaar 
relates, as a proof of Scheffler’s zeal for Catholi- 
cism: ‘In 1662 he arranged that the festival of Cor- 
pus Christi should be celebrated with processions, 
drums and trumpets, and Scheffler had the doubtful 
honor of carrying the monstrance (the framework 
of gold or silver, in which the consecrated wafer or 
host is held up to view before the congregation). 
This festival had not been celebrated in Breslau 
since the time of the Reformation.” It is difficult 
to understand a criticism of this kind. Would it have 
been more to Scheffler’s honor if he had attempted 
to remain part Lutheran and part Catholic? This 
characteristic simply shows the integrity of his per- 
sonality. He put his whole soul and being into that 
which he chose to be. 

Landstad has made use of only two of Scheffler’s 


149 


hymns, altho he speaks of him as “‘the beloved writer 
of excellent Jesus-hymns.” The Lutheran Hymnary 
contains five—68, 169, 403, 445, 474. 


69 


God of eternal love. 


It is not known who has written this hymn. (In 
regard to the melody, see No. 65.) 


710 
There is a safe and secret place. 
—H. F. Lyre. 


H FE, that dwelleth in the secret place of the 

Most High shall abide under the shadow of 
the Almighty. I will say of the Lord, He is my 
refuge and my fortress: My God, in whom I will 
trust” (Psalm 91:1-2). This hymn was first printed 
in Lyte’s Spirit of the Psalms, 1834. It breathes 
the spirit of peace and rest in the Lord. The or- 
iginal has 5 stanzas. It is extensively used both in 
England and America. 


71 
We all believe in one true God. 
Vi tro og troste paa en Gud.—Landst. 12. 
Wir glauben all’ an einen Gott. 
—M. LuTuer. 
URING the Middle Ages a short Latin version 
of the Creed was sung at the altar service. It 
was rendered in this manner: first the priest sang 
the words, “Credo in unum deum” (I believe in one 
God), then the choir continued, ‘“‘Patrem omnipo- 


150 





tentem” (the Father Almighty )etc. Both the text 
and the melody were extensively used, and the hymn 
was called ‘‘Patrem,” from the first word sung by 
the choir. In the 15th century this hymn is found 
with both Latin and German texts, also in a version 
with the German text only, under the title, Das 
deutsche Patrem. Following out this idea, Luther 
composed his famous hymn of three stanzas, ““Wir 
glauben all’ an einen Gott,” printed first in Walther’s 
Geistliches Gesangbiichlein, 1524. Luther’s hymn 
is a free rendering. He has not attempted to in- 
clude all parts of the Creed. Of the older German 
versions he has used only the beginning. But he 
has retained the same title as in the older versions: 
Das deutsche Patrem. It is based on the Nicene 
Creed. Luther says: “‘Patrem, that is, the articles 
of faith which were drawn up by the Council of 
Nice.” Luther’s hymn became popular at once and 
was sung at services after the sermon. Luther’s 
German altar book prescribes: After the Gospel 
(chanted before the altar) the whole congregation 
shall sing the Faith in German: “Wir glauben all’ 
an einen Gott.” It was also used at funerals. The 
body was then lowered into the grave as the con- 
gregation sang the words: ‘“‘Das Fleisch soll auch 
wieder leben” (All flesh shall rise again). It was 
thus used at the funeral of Frederick the Wise in 
1525. Luther included it among 6 funeral hymns 
which he published in 1542. ‘The hymn has found 
a place in almost all Lutheran hymnals. ‘The Danish 
translation is very likely by Klaus Mortens6n, print- 
ed in his hymnal. But he has included more of the 
Creed than Luther’s original, namely, ‘‘conceived 
by the Holy Ghost, suffered under Pontius Pilate, 


151 


descended into hell.”” He does not call his transla- 
tion Patrem, but Credo. ‘This holds also for a 
number of later versions. Miss Winkworth’s Eng- 
lish translation has also been varied somewhat for 
publication in The Lutheran Hymnary. 

The melody is not by Luther, as some have 
thought. It dates from the Middle Ages. It is 
found in manuscripts from the 15th century with 
both German and Latin texts. One such copy is kept 
in the library of Breslau. Johann Walther modi- 
fied the old melody to suit Luther’s version of the 
text. It was arranged by Walther for four-part 
chorus. 


72 
Holy, holy, holy, Lord God Almighty. 
“And they rest not day nor night, saying, Holy, 
holy, holy, Lord God Almighty, which was, and 
is, and is to come” (Rev. 4:8). 


—R. HEBER. 
| Piss is the best known and most popular of He- 


ber’s hymns. It was first printed in Psalms and 
Hymns for the Parish Church of Banbury, 1826, 
and the following year it was entered among the 
author’s hymns for Trinity Sunday. In some hym- 
nals it is listed as a morning hymn. ‘The melody 
(Nicea) by J. B. Dykes was composed for the 
first edition of Hymns Ancient and Modern, 1861. It 
has much in common with the melody for ‘Wake, 
awake, for night is flying,” by Philipp Nicolai. ‘The 
name ‘‘Nicea”’ was given to this melody in memory 
of the Council of Nice, where the doctrine of the 
Trinity was finally established. 


152 





Reginald Heber was born April 21, 1783, in 
Malpas, Chescher, England, and was the son of 
Reginald Heber, the rector of Malpas, a minister 
of great learning and in possession of considerable 
wealth. The younger Reginald showed remarkable 
talents even at an early age. He wrote verses 
of merit as a child. His older brother, Richard, 
had a large library (some authorities say 150,000 
volumes), and this gave Richard a splendid oppor- 
tunity to satisfy his desire for knowledge. At the 
age of seventeen he entered Oxford, where he was 
educated at Brasenose College. Even during his 
first year at this institution he won the prize for his 
Latin poem, Carmen Seculare, and later the first 
prize for an English poem, Palestine, which has 
been called the best prize poem ever produced at 
Oxford, and has been given a permanent place in 
English literature. “Che outline was read to Walter 
Scott, and many of the striking expressions of the 
poem are due to his assistance. During his last 
year at the college he received another prize for 
his treatise, The Sense of Honor. Then he was 
given an appointment as Fellow of All Souls’ Col- 
lege. Having completed his university education, 
he was ordained to the ministry and became pastor 
of Hodnet church, where he applied himself exten- 
sively to his literary work. He was assistant editor 
of the Quarterly Review and delivered several lec- 
tures of the famous Bampton Lecture series. He 
wrote all his hymns during his 16 years at Hodnet. 
He prepared a splendid collection of hymns arranged 
according to the Sundays and festivals of the church 
year. This collection was not published, however, 
until after his death. In 1822 he became preacher 


153 


at Lincoln’s Inn, London. Heber took great inter- 
est in the affairs of India and studied diligently the 
geography and the conditions of that country. He 
often expressed the desire of becoming bishop of 
Calcutta. In 1823 this desire was fulfilled. He 
received the degree of doctor of theology before 
leaving England. During the three years of service 
as missionary bishop, he showed extraordinary per- 
severance in the work, great self sacrifice, and a 
never waning enthusiasm for his calling. He 
ordained the first native minister, Christian David. 
He made extensive journeys of visitation thru Ben- 
gal, Bombay, and Ceylon; later to Madras and 
Trichinopoli, where he confirmed 42 persons, April 
3, 1826. At the close of this memorable day he 
went home to his lodging and, as was his custom, 
took a cold bath. He suttered a stroke of paralysis 
and died in the bathroom. 

One hymnologist says regarding Heber’s hymns: 
“The lyric spirit of Scott and Byron entered into 
our hymns thru the works of Heber.” A richer 
rhythm was given to the stanzas of the old meter, 
as, for instance, in the martial air, ‘“The Son of God 
goes forth to war’ (L. H. 491), and the free 
meter which characterized the contemporary poetry 
of the times, was also introduced into hymnwriting, 
as in the hymn, ‘Brightest and best of the sons of 
the morning” (224). His hymns possess an unusual 
grace of diction and elegance. We do not find the 
peculiar Scriptural richness and forceful expression 
which mark the older hymns of the Church, nor the 
dogmatic power of the Latin hymns; but as pure, 
graceful spiritual poetry, they will continue to be a 
source of joy and edification for Christians. Heber’s 


Woe 


hymns form a part of the finest and most charming 
poetry in the English language. After Heber’s 
death the manuscript was found entitled, Hymus, 
Written and Adapted to the Weekly Church Service 
of the Year. This was published in London in 1827. 
It contains 57 of Heber’s own hymns, 12 by Mil- 
man, and 29 by other authors. This hymnal is ex- 
tensively used in England and America. 


13 
Come, Thou almighty King. 


Chee WESLEY is mentioned in many hym- 
nals as the author of this hymn, which is used 
extensively thruout the English speaking world. But 
it is not found in Wesley’s collection of 1779. ‘The 
meter is also different from that of Wesley’s hymns. 
The hymn is found in a collection edited by Rev. 
Spencer Madan, in his 3rd edition, 1763. It ap- 
pears there with the melody ‘‘God save the king” 
(America). George Whitefield had taken the hymn 
into a collection published by him at an earlier date. 
In that issue the hymn is called dn Hymn to the 
Trinity. During the Revolutionary War, while the 
English yet controlled Long Island, the English 
troops one Sunday morning marched into a church 
and ordered the congregation to sing ‘‘God save the 
king.” ‘he congregation sang the melody of the 
Old Royal hymn, but the text with the following 
words: 


Come, Thou almighty King, 
Help us Thy name to sing, 
Help us to praise; 

Father all glorious, 


155 





O’er all victorious, 
Come and reign over us, 
Ancient of days. 


The melody (Italian Hymn) was composed by 
Felici de Giardini, an Italian musician born 1716, 
in Turin, Italy, and died 1796, in Moscow, Russia. 


74 
Ancient of Days, who sittest throned in glory. 
—W. C. Doane. 


0 Pras hymn of praise and prayer to the Holy 
Trinity was written in 1886 for the two hund- 
redth anniversary of the city of Albany of New York 
state. In various hymnals the hymn begins with 
the second stanza of the original, namely: ‘““O Holy 
Father, who hast led Thy children.” (For notes 
on the melody, see No. 23.) 

William Croswell Doane, son of the hymn writer, 
Bishop G. W. Doane, was born March 2, 1832, 
in Boston, Mass., and educated for the ministry in 
the Episcopal Church. From 1856 and on he served 
as rector at Burlington, N. J., Hartford, Conn., 
and Albany, N. Y. In 1869 he became bishop 
of Albany. Some of his hymns and poems were 
published in 1902. He wrote a number of treatises; 
among others may be mentioned the biography of his 
father. He received the degree of doctor of divin- 
ity from Oxford and the LL.D. degree from Cam- 
bridge. 


156 


1s 


Father most holy, merciful and tender. 
O Pater, sancte, mitis atque pie. 
—lDLATIN FROM THE LOTH CENTURY. 


N the British Museum there are two manuscripts 
which contain this hymn to the Trinity, from 
the 11th century. It was printed in many breviaries 
(Sarum, York, Aberdeen, Venice, and others). The 
printed text is also found in the works of Mone, 
Daniel, and Cardinal Newman’s Hymni Ecclesiae. 
G. M. Dreves found it in a manuscript from the 
10th century. There are 8 English translations. 
The one of the latest date is by Rev. Percy Dearmer, 
1906—the version used in The Lutheran Hymnary. 
Percy Dearmer was born in London, 1867, and was 
educated at Westminister School and at Christ 
Church College, Oxford. He has served in London 
since 1891 as secretary of the London division of 
the Christian Social Union, also as preacher, author, 
and translator. He was a member of the committee 
which prepared The English Hymnal of 1906. To 
this edition he contributed several translations and 
a number of original hymns. 


76 


We all believe in one true God. 
Wir glauben all’ an einen Gott, 
Vater, Sohn, und heil’gen Geist. 
—T. CLAUSNITZER. 
Toe hymn appeared first in the Culmbach- 


Bayreuth Gesangbuch, 1668, with the signature 
“C. A. D.” In 1676 it was included in the Niirn- 


Ly 


berg Hymnal with Clausnitzer’s name attached. 
The English translation is by Miss Winkworth as 
given in her Chorale Book for England, 1863. The 
oldest version of this melody is found in the Darm- 
stadt Gesangbuch of 1699. 


We 
Praise the Rock of our salvation. 


—B. WEBB. 


ae hymn was first printed in The Hymuary, 

1872. Webb’s authorized version appeared in 
The Westminster Abbey Hymn Book, 1883. The 
melody (Bethany) was composed by Henry ‘Thomas 
Smart (1813-1879), organist in London. ‘The 
hymn is found in a manuscript from 1530, the so- 
called Luther Codex, published in 1871 in Dresden 
by O. Kade, under the title Der neugefundene Lu- 
ther Codex vom Jahr 1530. It was printed in 
Wittenberg in 1540 or 1541 in a pamphlet. In 
1542 it appeared in the Magdeburg Gesangbuch, 
and in 1543 in Klug’s Geistliche Lieder. In the lat- 
ter edition the hymn has the following title: 4 
Children’s Song, to be Sung Against the Two Chief 
Enemies of the Church, namely, the Pope and the 
Turk. 


Erhalt’ uns, Herr, by deinem Wort, 
Und steur des Papst und Tiirken Mord. 


In 1520-1565 the Turks had overrun a large 
portion of Hungary and even besieged Vienna, so 
that the Germans had good reason to pray for pro- 
tection from the Mohammedan hordes. In Eng- 
land, even, there was included in the church prayers 


158 


also a prayer for the liberation of these Christians 
from the yoke of the Turk. ‘‘Anti-Christ,” says 
Luther, ‘‘is the pope and the Turk. The beast must 
have a soul and a body. The pope is the soul and 
the Turk is the body.” 7 

Benjamin Webb was born 1820, in London. He 
was educated in St. Paul’s School and Trinity Col- 
lege, Cambridge. He*was ordained to the minis- 
try in 1843, and held various positions until 1862, 
when he became vicar of St. Andrews, Wells Street, 
London. In 1881 he became connected with St. 
Paul’s Cathedral. Rev. B. Webb wrote and edited 
several theological publications and assisted in the 
preparation of two collections of hymns, namely, 
Hymnal Noted, 1851-1854, and The Hymunary, 
1872. He has furnished a number of translations, 
and has composed a few original hymns. Among 
the latter is ‘‘Praise the Rock of our salvation,” 
intended for use at the dedication of churches. 


Benjamin Webb died 1885, in London. 
78 


The Church's one foundation. 
—S. J. STONE. 


F OR other foundation can no man lay than that 
which is laid, which is Jesus Christ” (I Cor. 
Bll). 

This hymn was written in 1866 and printed the 
same year in Lyra Fidelium. It contained seven 
stanzas. Later a revised version of five stanzas was 
printed in Hymns Ancient and Modern, 1868. An 
enlarged edition of ten stanzas was published in 
1885 for use in the Salisbury Cathedral. The hymn 


£59 


is based on the third article of the Apostles’ Creed: 
‘The Holy Catholic Church; the Communion of 
Saints. He is the Head of the Body, the Church.” 
This hymn was selected as the processional hymn 
for the great festivals of the year celebrated in 
Canterbury Cathedral, Westminster Abbey, and St. 
Paul Cathedral, London, 1888, when all the bishops 
of the Lambeth conference were gathered in meet- 
ing. The second redaction of the hymn (that of 
five stanzas) is found in all the leading English 
hymnals and has been translated into many lan- 
guages. Gustav Jensen translated it into Norwe- 
gian for his Utkast til ny salmebok for den norske 
kirke. ‘There are two Latin versions, the latest be- 
ing, ‘“Nobis unum est fundamen,” by Rev. E. Mar- 
shall, 1882. (Concerning the melody, see No. 61.) 

Samuel John Stone, the son of William Stone, 
an Episcopalian minister, was born April 25, 1839, 
in Whitmore, Staffordshire. He received his educa- 
tion at [he Carterhouse and Pembroke College, 
Oxford. Being ordained to the ministry in 1862, 
he was called as curate of Windsor, and in 1870 to 
a similar office at St. Paul’s, Haggerston, where he 
succeeded his father as vicar in 1874. In 1890-1900 
he served in London as rector of All Hallows-on- 
the-Wall. Stone published Lyra Fidelium, 1866; 
The Knight of Intercession and other Poems, 1872; 
Hymns, 1886; Iona, 1898. He was a member of 
the committee which prepared Hymns Ancient and 
Modern. ‘This famous work, in the latest edition, 
1909, has nine of Stone’s hymns. Rev. S. J. Stone 
died in Charterhouse November 19, 1900. His 
poems and hymns, together with a memorial writ- 
ten by F. G. Ellerton, were published in London. 


160 


His best hymns are graceful in form, Scriptural, of 
a strong faith, and clear. ‘Three of his best Ky nats 
are found in The Lutheran Hymnary. 

The following is the Norwegian translation by 
Gustav Jensen: 


1. Guds kirkes grundvold ene 
er Herren-Jesus Krist; 
fodt ved hans ord det rene, 
hun er hans verk forvisst. 
Han vilde hende tage 
i naade til sin brud, 
han vilde hende drage 
ved korsets blod til Gud. 


2. Utvalgt av slegter alle, 
dog en iverden vid, 
h¢gr hendes Ipsen gjalde: 
En tro, en daab, en strid! 
Ett hellig navn hun nevner, 
ett bord hun styrkes ved, 
og mot ett haab hun stevner, 
i stadig strid for fred. 


3. Skjgnt undrende man skuer 
de saar hun bere maa, 
et maal for fiendens buer 
og for de reve smaa. 
Dog hellige derinde 
staar vakt i natten lang, 
snart Saar og suk skal svinde 
og blive morgensang. 


4. Mens her hun n¢d 0g trengsel 
har end at stride med, 
hun venter fuld av lengsel 


161 


paa evighetens fred, 

til hgit hun skal sig glede 
ved salig syn tilsidst, 
naar stridekirken nede 
blir seterskirken hist. 


5. Dog eri aandens mening 
alt her hun Herren nar, 
har hellig, sot forening 
med Herrens venner der. 
I lykkelige alle! 

I hellige hos Gud! 
Fan os til eder kalde 


ved salig reisebud. 


Tee, 


Thou holy Church, God’s city, shine. 
Du hellige Guds Kirke her.—Landst. 249. 


AUDA Hierusalem dominum’’ is found ina 
small hymn book from 1526. It is in the 
Low German dialect: ‘‘Hierusalem, des louen stat,” 
and is a paraphrase of the 147th Psalm. The 
author is unknown. It was translated into Danish 
by Hans Spandemager and was first printed in the 
Malmo Hymnary, 1533. ‘This translation was 
taken up in Thomisson’s Hymnal. It was revised 
by M. B. Landstad. (Regarding the melody, see 
No. 2.) 


162 


30 
By the holy hills surrounded. 
Gottes Stadt steht festgegriindet. 
—C. J. P. SPITTA. 


ae original version of six stanzas was first 
printed in Leipzig, 1846, under the title: Gottes 
Stadt. It is based upon the 87th Psalm: “His 
foundation is in the holy mountains. The Lord 
loveth the gates of Zion more than all the dwellings 
of Jacob. Glorious things are spoken of thee, O 
city of God.” (It was used in Kunapp’s Ev. Luth. 
Hymn Book of 1850 and 1865, and in the Han- 
noverian Hymnary, 1883.) ‘The English transla- 
tion is by R. Massie (see notes under No. 29), and 
was printed in his Lyra Domestica, 1864. The 
melody (Wachet auf, or Nicolai) was composed by 
Philipp Nicolai, who composed the famous hymn, 
‘Wake, awake, for night is flying.”” He wrote also 
this melody for his hymn. It was printed first in 
Nicolai’s Freuden-Spiegel des ewigen Lebens as the 
melody for ‘‘Wake, awake.’ This famous melody, 
which has been called the King of Hymn Tunes, is 
used in all Christian lands. It has been employed 
by eminent composers in the great musical composi- 
tions; by J. S. Bach in two of his cantatas, and by 
Mendelssohn in his overture to the oratorio St. 
Paul, and in his Hymn of Praise. 

Carl Johann Philip Spitta was born August 1, 
1801, in Hannover, where his father, Lebrecht Wil- 
helm Gottfried Spitta, worked as a bookkeeper and 
a teacher of French. He descended from a French 
family of Huguenots, which had settled in Bruns- 
wick. As the boy grew up he early exhibited a mild 


163 


and pious spirit. He was only four years old when 
his father died. The mother, who was a Christian 
Jewess, now had to shoulder the responsibility of 
giving the boy an education. She was an intelligent 
woman and a good mother. She desired above all 
that her son Carl should enter the university. But 
he was very sickly from his eleventh until his four- 
teenth year. Hence, she gave up the plan of having 
him study and secured for him a position as an ap- 
prentice watchmaker. This work did not satisfy 
the aspirations of the ambitious and pious youth, 
but he did not let his feelings in the matter be known 
to his mother, so as not to grieve her. He sought 
comfort and encouragement in reading the Bible 
and other good books, and by writing poetry. In 
the meantime a younger brother died while occupied 
with studies preparing for the ministry. Carl con- 
fided his desires to a friend, who came to comfort 
him on the occasion of his brother’s death. It was 
with great joy that he accepted the offer of taking 
his brother’s place in the gymnasium in Hannover. 
In the fall of 1818 he took up his studies, and with 
such zeal and enthusiasm that he completed the 
course at the gymnasium by Easter, 1821, and was 
ready to enter the university of Gottingen. His 
teachers at the university were decidedly rational- 
istic in their views. He completed his theological 
studies in 1824. Until 1828 he served as teacher 
in Liine, near Liineburg. In 1828 he was ordained 
to the ministry and became assistant pastor of Sud- 
walde. He was appointed assistant garrison and 
penitentiary pastor of Hameln on the Weser, in 
1830. In 1837 he received the permanent appoint- 
ment to this office. But the military authorities, 


164 


who had learned that Spitta was a pietist, refused 
to confirm the appointment. During the same year, 
therefore, he accepted a call sent to him from 
Wechold. On his birthday, August 1, 1847, he was 
installed as superintendent of Wittingen, Han- 
nover; this was extended to include Peine in 1853; 
Burgdorf in 1859. On September 28, 1859, while 
working at his writing desk, he was stricken with 
heart failure and died in the course of about fifteen 
minutes. 

Spitta began to write verses at the age of eight. 
During his stay at the university he wrote a great 
number of songs and poems and published a collec- 
tion of folksongs for the laboring people. Among 
his companions at the university was Heinrich 
Heine, with whom he developed an intimate friend- 
ship. But when Heine, during a later visit in Lune, 
where Spitta was engaged as teacher, began to scoff 
at the holy things in the presence of Spitta’s pupils, 
this friendship came to a sudden close. During the 
latter part of his university career a decided turn 
had come over his spiritual life. His work of 
writing hymns began in earnest in 1824. At that 
time he expressed himself as follows: ‘“‘I will sing 
no more as [ have sung. I dedicate my life, my 
song, my love, to the service of my Lord. His love 
shall be the theme of all my songs. He gave me 
the gift of song and of melody; I will give it all 
back to Him. It is the duty of every Christian 
singer to sing praises worthily to God for His grace 
unto us.’ His most productive period as a hymn 
writer was during his stay in Line. During the 
still hours of the evening he would write his hymns 
‘and sing them to his harp or the piano. Later he 


165 


drew his inspiration for many of his hymns from 
the glorious nature scenes in the beautiful valley of 
the Weser. He was also inspired by his companion- 
ship with intimate friends in Hameln. During his — 
later years, his ministerial duties took up all his 
time. He wrote very few hymns after the year 
1847. 

In 1833 Pirna was published, the first edition of 
Psalter und Harfe. This work had the subtitle, 
Eine Sammlung Christlicher Lieder zur Haiislichen 
Erbauung. The second and enlarged edition, which 
appeared in Leipzig the following year, gained a 
unique recognition and distribution among all classes 
of people. Year after year new editions appeared. 
The 55th edition was issued in Bremen in 1889. 
This matchless success led to the publication of a 
new collection: Psalter und Harfe, zweite Samm- 
lung, etc., Leipzig, 1843. ‘The second edition of 
this collection was printed before the year was over, 
and its 42nd edition appeared in 1887. A third edi- 
tion of older and later songs (hitherto unpublished) 
appeared after Spitta’s death. This was given the 
title: Spitta’s nachgelassene geistliche Lieder, Leip- 
zig, 1861. These hymns have a more subjective 
and individualistic character. ‘The fifth edition of 
these appeared in Bremen in 1883. In 1890 a new 
edition of Psalter und Harfe was printed in Gotha. 
This included both parts, both the old and later 
hymns, and a biography of Spitta. It is chiefly thru 
his Psalter und Harfe that Spitta won the favor and 
love of the people. His hymns are noted for their - 
noble and unaffected expression of thought. They 
are characterized by a childlike piety, deep Chris- 
tian earnestness, and a fervent love for the Savior. 


166 


They are clear, simple, and of suitable length. 
Spitta’s hymns have contributed in great measure 
towards awakening, renewing, enriching, and es- 
tablishing the spiritual life of Germany and other 
countries, and have justly gained an extraordinary 
distribution among all classes of people. 

In 1855 Spitta was created doctor of divinity by 
the university of Gottingen. He had a loving wife 
and seven children. ‘Their home is pictured as a 
home of peace and song. During the evenings he 
would gather his family and their friends and sing 
his hymns and other songs, while the neighbors gath- 
ered near to enjoy the singing. 

His son, Friedrich Spitta, born January 10, 1852, 
in Wittingen, Hannover, became a theologian and 
has since 1887 been professor of New Testament 
exegesis and practical theology at the university of 
Strassburg. He is especially known thru his work 
on liturgics. He is the author of several treatises, 
among which may ‘be mentioned, Luther and the 
Evangelical Service and Reform of the Evangelical 


Worship. 
Sl 
Christ alone is our salvation. 


By an unknown author. (For notes on the melody, 
see No..20.) 


82 
Behold the sure Foundation-stone. 
os WiAerss 
HE stone which the builders refused is be- 


come the head stone of the corner. This is 
the Lord’s doing; it is marvellous in our eyes” (Ps. 


167 


118+22-23. Matt. 21:42. See Matt. 16:18; Acts 
ivelspoiee a0. bie Det ay2:)) ae hen hymn was 
printed in 1719 in the author’s collection, Psalms of 
David. This hymn is not found in very many Eng- 
lish hymnals. Just the same it is one of Watts’ best 
productions and should be used especially on Ref- 
ormation Day. (Regarding the melody, see notes 


on No. 20.) 
83 


Zion stands with hills surrounded. 
3 SSK RELY: 


A S the mountains are round about Jerusalem, 

so the Lord is round about His people from 
henceforth, even forever” (Psalm 125:2). This 
beautiful text forms the basis for the hymn. The 
hymn appeared first in Thomas Kelly's Hymns on 
Various Passages of Scripture, second edition, Dub- 
lin, 1806. A description of the melody will be 
found under No. 48. 

Thomas Kelly, the son of an Irish judge of the 
same name, was born in Kellyville, Queens county, 
Ireland, July 13, 1769. It was his father’s wish 
that the son should study law, so he entered Dublin 
University. One of the works which he read 
awakened his interest for Hebrew, and during the 
course of his study of this language, he was brought 
in closer touch with the Holy Scriptures. This led 
him again to read other works of a religious nature. 
He was especially impressed by a treatise written 
by the pious William Roumaine. Having completed 
his reading of Roumaine’s work, Kelly determined 
to forsake the world and all its attractions and take 


168 





up the study of theology. His religious fervor de- 
veloped at first into fanaticism, and his asceticism 
undermined his health, until he finally found peace 
and comfort thru faith in the grace of God thru 
Jesus Christ. In 1792 he was ordained to the min- 
istry in the Episcopalian Church and began to pro- 
claim the old Gospel of sin and grace, of salvation 
thru faith in Jesus Christ. He found a good friend 
and co-worker in the famous preacher Rowland 
Hill, who was also educated in the Church of Eng- 
land. Hill served for a time as traveling preacher 
in the western part of England and in Ireland. 
These two men were, however, soon to experience 
that such purely evangelical sermons did not please 
the leading men of the Episcopalian Church of Ire- 
land. It did not harmonize with the viewpoint and 
requirement of the times. Rowland Hill and Kelly 
were forbidden by Archbishop Fowler to preach in 
his bishopric. In other words, they were suspended 
from the Episcopalian Church. But Archbishop 
Fowler could not forbid them to proclaim the Gos- 
pel. ‘Thus Kelly became a so-called Dissenter 
preacher. He set up preaching places in Dublin and 
the surrounding districts, where he became the soul 
of the evangelical movement. He was met by 
strong opposition, not only from the archbishop and 
the clergy, but even from his own family. But in 
return he was loved by the common people and not 
the least by the poorer classes in Dublin. After 
some time he also gained universal recognition on 
account of his culture and thoro learning, but espe- 
cially on account of his endearing personality, his 
sincere piety and humility, his charity work, and 
untiring zeal for the extension of the Kingdom of 


169 


God. At the age of 30 he was married to a young 
lady, who shared his spiritual views and who 
brought him a goodly fortune. ‘Thomas Kelly is 
the Prince of the Singers of Erin. In 1802 he is- 
sued a Collection of Psalms and Hymns Extracted 
from Various Authors. This contained a supple- 
ment of 33 hymns written by himself. In 1804 he 
published 98 original hymns: Hymns on Various 
Passages of Scripture. During a number of years 
this appeared in several enlarged editions, until, in 
the last edition of 1854, there were 765 original 
hymns by Kelly. It is evident that, among so many 
original hymns, many are of lesser merit. But 
the greater number in this collection are of high 
rank. About 100 of them are in universal use. One 
hymnologist asserts that Kelly is at his best in the 
hymns of praise and in the hymns written in the 
more modern meter. His hymns are characterized 
by simplicity and natural expression. His hymns 
reflect in the main his charming personality; they 
are lyrical and Biblical. ‘They are not so subjective 
as the great number of hymns of the Methodist 
school. Kelly was a talented musician and wrote 
melodies for all the various metrical forms used in 
his hymnal. He died of heart failure in 1855, at 
the age of 86. As he felt death approaching he 
exclaimed: ‘‘Not my will, but Thine be done.”’ One 
of his friends read to him: ‘“The Lord is my Shep- 
herd.” He whispered: ‘The Lord is my All.” 
His last words. Later years have brought a new 
interest in Kelly’s hymns, particularly on account 
of the many beautiful melodies furnished for them 
by Miss Havergal. 


170 


34 


Lord of our life, and God of our salvation. 
—PuiLip Pusey, after Lgwenstern. 
Megtigste Kriste, Menighedens Herre. 
—Landst. 393. 
Christe, du Beistand deiner Kreuzgemeine. 
—M. A. von LOWENSTERN. 


9 Pe English hymn by Pusey is written upon the 
basis of Loéwenstern’s German hymn “Christe, 
du Beistand,” etc. The German hymn appeared in 
Lowenstern’s Symbola oder Gedenck-Spriiche, etc., 
1644. Philip Pusey rendered his version of this 
hymn as a contribution to 4d. R. Reinagle’s Psalm 
and Hymn Tunes, Oxford, 1840. The hymn is 
found in all leading English and American hymnals. 

“Megtigste Kriste’ in Landstad’s Hymnal is a 
very good rendering of Lowenstern’s German hymn. 
It is not known who made the Norwegian transla- 
tion. It appeared first in Pontoppidan’s Hymnal 
of 1740. It bears marks of having been composed 
during the Thirty Years’ War (Skaar). (For notes 
on the melody,' see No. 75.) 

Philip Pusey was born June 25, 1799, and was 
educated in Christ Church College, Oxford. He 
was an elder brother of the famous Dr. Edw. B. 
Pusey, author and professor at Oxford University. 
Philip took his academic degree at Oxford, but in 
1853 received also the honorary degree of D. C. L. 
(doctor of civic law). He died July 9, 1855. 

Matthzus Apelles von Lowenstern was born April 
20, 1594, in Neustadt, Silesia, where his father was 
a saddlemaker. ‘The son became famous as a 


171 


talented musician, and in 1625 was given a position 
with Duke Heinrich Wenzel. Six years later he 
was appointed royal councillor and chamberlain. 
Later he entered the service of Ferdinand III and 
was by him raised to the nobility. Finally he be- 
came secretary of state under Duke Karl Friedrich 
of Miunsterberg. He died April 11, 1648, in Bres- 
lau. In all he wrote about 30 hymns, several of 
which have been translated into English and other 
languages. 


85 


Be not dismayed, thou little flock. 
Forferdes ei, du lille Hob.—Landst., Am. El., 669. 
Verzage nicht, du Haiiflein klein. 

—J. M. ALTENBURG. 


eee MEARNS says: ‘Concerning the author- 
ship of this hymn three different theories have 
been advanced, namely, first: that the hymn was 
written by Gustavus Adolphus; secondly, that the 
ideas were furnished by Gustavus Adolphus and 
were given metrical form by his army chaplain, Dr. 
Fabricius; thirdly, that the hymn was composed by 
J. M. Altenburg. The only foundation for the first 
theory lies in the circumstance that several old 
hymnals have called it The Martial Hymn of 
Gustavus Adolphus. The second theory is advanced 
in a hymnological work by Mohnike, but has very 
little foundation.” ‘The hymn was first printed in 
Epicedion, Leipzig (minus date, but very likely 
1632), with the following title: Kdniglicher 
Schwanengesang so thre Majest. vor dem Liitzen- 
schen Treffen inniglichen zu Gott gesungen. It also 


172 





appeared in Blutige Siegs-Crone, Leipzig, 1633, 
with a similar title. In both these issues it appeared 
in three stanzas and without the author’s name. In 
J. Clauder’s Psalmodiae Novae, 1636, it has two 
added stanzas, but no authorship is given. But in 
Jeremias Weber's Leipziger Gesangbuch, 1638, the 
hymn has this title: 4 soul-refreshing and comfort- 
ing hymn, based upon the war-cry, “God with us,” 
Sung by the Evangelical Army in the Battle of Leip- 
zig, September 7, 1631, composed by Johann Al- 
tenburg, Chaplain of Gross Sommern, Thiiringen. 
The hymn has also here five stanzas. But only the 
first three stanzas are credited to Altenburg. The 
last two stanzas bear the note: ‘‘Additamentum 
ignoti.”’ None of the contemporary writers have 
questioned the correctness of this designation. The’ 
hymn has been called Gustavus Adolphus’ Swan 
Song. The following description by Dr. Koch ex- 
plains how this happened: It was early morn, No- 
vember 6th. The Catholics under Wallenstein and 
the Protestants under Gustavus Adolphus were 
drawn up in battle array upon the plain near Lutzen. 
At daybreak the king called the chaplain, Dr. Fa- 
bricius, and ordered the soldiers together for wor- 
ship. The whole army joined the pious king in 
singing this hymn: ‘‘Verzage nicht, du Hatflein 
klein.”” The king lay upon his knees in fervent 
prayer. A dense fog covered the plain. As the 
ranks were drawn for the attack, he ordered the 
musicians to play the hymn “A mighty fortress is 
our God,” and ‘“‘May God bestow on us His grace”’ 
(Landst. 28), which hymns the army sang with 
great spirit. [he king mounted his horse, drew his 
sword and rode back and forth in front of the lines, 


173 


encouraging his troops. ‘The fog lifted and the 
sun appeared. After a short prayer the king ex- 
claimed: ‘‘Now forward to the attack in the name 
of our God”; and, shortly after, ‘Jesus, Jesus, Je- 
sus, help me today to do battle for the glory of Thy 
holy name.”” ‘Then with the war-cry, ‘God with 
us,’ repeated by the whole army, Gustavus Adolphus 
galloped at the head of his troops into the battle. 
He did not put on his coat of mail. When a servant 
brought it to him, he remarked, “God is my pro- 
tector.”’ The battle grew fierce and bloody. At 
about eleven o’clock in the forenoon the king was 
mortally wounded by a bullet. As he fell from his 
horse, he: cried out: ‘My God, my God.” The 
battle continued and the outcome for some time 
was doubtful. But as the twilight of evening settled 
upon the field of battle the Protestants had gained 
the victory for which they so fervently prayed in 
the morning. 

Johann Michael Altenburg was born 1584, in 
Alach, near Erfurt. Having concluded his studies 
he was made teacher and precentor in Erfurt. In 
1608 he became pastor of Ilversgehofen and Mor- 
bach; in 1611 in Trochtelborn; in 1620 in Gross- 
Sommern. All these places are in the neighborhood 
of Erfurt. During the war he fled to Erfurt. While 
there he heard the news of the victory at Leipzig 
September 7, 1631, and wrote this hymn, which 
is his best known production. In 1637 he became 
deacon of the church of St. Augustine, and the fol- 
lowing year, pastor of St. Andrews of Erfurt, 
where he died, 1640. Altenburg was also a musi- 
cian and composer. Landstad’s Hymnary does not 
contain Altenburg’s hymn, but it has been entered 


174 


into the supplement to the American edition. It has 
been translated by Fr. Hammerich, a Danish pro- 
fessor, who died 1877. ‘This fine Norwegian trans- 
lation is found in Hauge’s Hymnal, in the hymn 
book of the former Norwegian Synod, and in 
Gustav Jensen’s Utkast til revideret salmebok for 
den norske kirke. ‘The melody was originally used 
for a folksong: ‘‘Was wolln wir aber heben an.” 
As a hymn tune it was used for the first time in con- 
nection with a German hymn: Ain schéns newes 
christlichs lyed; item die Zehen Gebot Gottes, 1530 
(Nutzhorn). It has always been connected with the 
hymn, ‘‘Kommt her zu mir, spricht Gottes Sohn.” 
(Kom hid til mig enhver iser, Landst. 576). The 
melody has found a place in nearly all the hymnals 
of the Northern countries. 


36 


Through the night of doubt and sorrow. 
Igjennem nat og trengsel. 


One is our God and Father (No. 468). 
En Gud og alles Fader.—Landst. 536. 
—B. S. INGEMANN. 


OW the God of patience and consolation 
4“ grant you to be like-minded one toward an- 
other according to Christ Jesus. That ye may with 
one-mind and one mouth glorify God, even the 
Father of our Lord Jesus Christ’? (Rom. 15:5-6). 
‘Thru the night of doubt and sorrow,” written by 
the Danish author Ingemann, 1825, appeared in 
print in H¢imesse-Psalmer, with supplement, 1843. 
The English translation by S. Baring-Gould was 
published in The People’s Hymnal, 1867. 


175 


No. 468 in The Lutheran Hymnary is a trans- 
lation of Landstad’s No. 536. Landstad’s, again, 
is a condensed revision of Ingemann’s hymn. 
Stanzas 4 and 1 of Ingemann’s have been moulded 
into the second stanza of Landstad’s version. 
Hence, in our Lutheran Hymnary we have two 
separate hymns derived from this one hymn of In- 
gemann’s, Nos. 86 and 468. Landstad’s cento of 
Ingemann’s hymn has been translated by the Rev. 
Carl Dgving. It may be added here that the author, 
Ingemann, revised the third stanza of the hymn for 
special use at the ordination of bishops. This is 
the first stanza of Landstad’s and Dégving’s ver- 
sion (L. H. 468). 

Bernhard Severin Ingemann, the son of the 
preacher, Sgren Ingemann, was born 1789, in Fal- 
ster, Denmark. When the son was only 11 years 
old, the father died, and the mother moved with 
the large family to Slagelse, where Bernhard at- 
tended the Latin school, and was ready to enter 
the university in 1806. In 1811 he published his 
first volume of poems, which were very favorably 
received. ‘The following year new collections ap- 
peared; in 1814 the great epic, The Black Knights. 
With astonishing rapidity he produced a great num- 
ber of dramas, after which he traveled thru Ger- 
many, France, Switzerland, and Italy. In 1822 he 
was appointed lector of Danish language and lit- 
erature at the Academy of Sorg. In this beautiful 
and memorable place he spent the remainder of his 
days. For forty years he served in this pleasant 
work, enjoying a happy home life, and continually 
applying himself to the writing of poetry. Encour- 
aged by Grundtvig, Ingemann, in 1824, began his 


176 


production of the historical novels: Valdemar Seier, 
Erik Menved’s Childhood, King Erik and the Out- 
laws, Prince Otto of Denmark. All these follow in 
the main the style of Walter Scott’s novels. ‘These 
works have a religious tendency, but do not follow 
historical facts. Hence they were severely criti- 
cized by his contemporaries. But the novels were 
imaginative and picturesque, and gained great favor 
among the people of Denmark and also of Norway. 
In fact, they formed part of the most popular litera- 
ture of the times. But it is chiefly thru his grace- 
ful and beautiful hymns that Ingemann will be re- 
membered. His Morgensalmer appeared in 1822; 
H¢imessesalmer, in 1825; the second edition with 
the supplement, in 1843. In 1854 he was given the 
task of finishing the work on Salmebog til Kirke- og 
Husandagt, compiled and edited by the ministerial 
conference at Roskilde. 


37 
Rise, ye children of salvation. 
Op, I Kristne, ruster eder.—Landst., Am. Ed., 689. 
Auf! ihr Christen, Christi Gheder. 
—J. FALCKNER. 


I T is claimed that this hymn was written during 
the author’s student days at Halle, where the 
hymn appeared in Geistreiches Gesangbuch, 1697. 
It has eleven stanzas and the following title: En- 
couragement to fight the spiritual battles. It 1s a 
forceful and soul-stirring hymn. After it was given 
a place in Freylinghausen’s Hymnal of 1704 it was 
extensively used, and has been taken up in a great 
number of hymn books. ‘The Danish translation 


177 


is by H. A. Brorson. Our English version was 
furnished by Mrs. Emma Frances Bevan, the daugh- 
ter of the preacher, Philip Nicholas Shuttleworth, 
the warden of New College, Oxford, later bishop 
of Chichester. She was born in Oxford, 1827, and 
in 1856 married R. C. L. Bevan, a wealthy banker. 
Mrs. Bevan has furnished several fine translations 
of German hymns. These were published in Songs 
of Eternal Life, London, 1858, and Songs of Praise 
for Christian Pilgrims, London, 1859. 

The melody (Waltham or Gadesberg), by the 
German composer, Heinrich Albert (1604-1651), 
is taken from his collection, Arien oder Melodyen, 
1642, and connected with the hymn ‘Gott des Him- 
mels und der Erden’’ (Himlens Gud og Jordens 
Herre, God who madest earth and heaven, L. H. 
544). 

Justus Falckner, born November 22, 1672, in 
Langenreinsdorf, Saxony, was the fourth son of 
Daniel Falckner, a Lutheran preacher of the same 
city. Justus studied theology in Halle under A. H. 
Francke. Having completed his studies he, how- 
ever, shrank from entering the ministry, fearing the 
heavy responsibilities attached to the office. To- 
gether with his elder brother, Daniel, who had lately 
returned from America, Justus, at Rotterdam, in 
1700, became engaged in real estate business in 
Pennsylvania. The following year they sold 10,000 
acres of Pennsylvania land to the preacher, Andreas 
Rudman, and other Swedes in the Manatawny dis- 
trict. This acquaintance with Rev. A. Rudman led 
to Falckner’s decision to enter the ministry. On 
November 24, 1703, he was ordained in the Swedish 
Wicacoa church in Philadelphia. The officiating 


178 


pastors were Rudman, T. A. Bjork, and Anders 
Sandel. He was called to the pastorate among the 
Dutch pioneers of the Manatawny district, near 
New Hannover, but shortly after he was appointed 
to take Rudman’s place in the Lutheran congre- 
gations of New York and Albany. He labored 
there zealously and faithfully. In addition to these 
congregations he served temporarily the three con- 
gregations in New Jersey and two (Loonenburg 
and Neuburg) in New York state. 

The records state that the New York charge be- 
came vacant. It is not definitely known whether 
this was due to Falckner’s death or to his removal 
to some other charge. Michael Knoll, who became 
pastor in New York 1732, expressed the opinion 
that Falckner died in the year 1723. But from the 
ministerial records of the congregation it seems 
rather probable that he withdrew to another charge 
in New Jersey, where the work would be less 
strenuous. 

Justus Falckner was the first Lutheran pastor to 
be ordained in America. Likewise, the catechism 
prepared by him is the first Lutheran book to be 
published on this continent. It was written in the 
Dutch language and published in New York in 1708 
under the title: Grondlycke Onderricht, etc., and has 
a supplement of three hymns translated from the 
German. 


Hy 





88 


Glorious things of thee are spoken. 
—J. NEWTON. 


4 ay hymn appeared in Newton’s Olney Hymns, 
First Book, 1779. It contained five stanzas and 
the following title attached, Zion, or the City of 
God. ‘The hymn is based upon the 87th Psalm: 
“Glorious things are spoken of thee, thou city of 
God” (Psalm 87:3). In The Lutheran Hymnary 
the third stanza of the original is omitted. This 
hymn is considered one of the best in the English 
language. In many hymnals it has been abbreviated 
and revised in various ways. R. Bingham has trans- 
lated it into Latin: ‘‘Dicta de te sunt miranda.” 


(The melody has been discussed under No. 12.) 


39 
I love Thy kingdom, Lord. 
—T. DwicHrt. 


Res hymn is Dwight’s third version of the 
137th Psalm. The original had eight stanzas. 
This third version is considered the best and is quite 
extensively used. It appeared first in a hymnal pre- 
pared by Dwight at the request of the General As- 
sociation of Connecticut. ‘This was a revised edi- 
tion of Watts’ Psalms of David, together with a 
metrical versification of several psalms omitted by 
Watts. This volume was published in 1800. The 
hymn is found in numerous English, Scotch, and 
Irish hymnals. In some it is printed in the original 
form, in others one or two stanzas have been omit- 
ted. The melody (St. Audoen) was composed by 


180 


Sir Robert Prescott Stewart of England (b. 1825— 
d. 1894). 

Timothy Dwight was born May 14, 1752, in 
Northampton, Mass. He was educated at Yale 
College and graduated in 1769. He served as 
teacher at Yale from 1771 until 1777. He was or- 
dained to the ministry in the Congregational Church 
and became an army chaplain, but in 1783 he ac- 
cepted the pastorate of Fairfield, Connecticut. In 
1795 he was elected president of Yale College. The 
students of Yale voted unanimously for his election. ° 
Dwight died January 11, 1817, in New Haven. He 
was a splendid type of a Christian American, a 
man of culture, of deep piety combined with a broad 
view of life. Dwight is best known as a theologian 
and a pedagogue. His writings are highly respected 
in England. In all he wrote 33 original hymns, of ~ 
which number many are in extensive use. 

During his early childhood he suffered an attack 
of smallpox. As a result of this he contracted a 
distressing disease of the eyes which at times caused 
him great pain. Very often he could not read or 
write for more than fifteen minutes at a time. Some- 
times he could not read at all for days. He suffered 
in this manner for about forty years. 


90 
Lord, pour Thy Spirit from on high. 
| —J. MontTGomery. 
4 Baus hymn is found in two of Montgomery’s 
manuscripts. In one we are told that the hymn 
was commposed January 23, 1833, for John 
Birchell, the rector of Newbury, Berks, who pub- 


181 


lished a collection of hymns in 1833. It appeared 
the same year in Bickersteth’s Christian Hymnology 
and later in Montgomery’s Original Hymns, 1853. 
In a few hymnals the first line reads: ‘Pour out 
Thy Spirit from on high.” This has been a very 
popular hymn. The melody (Federal Street) was 
composed by Henry Kemble Oliver, an American 
composer, born 1800, in Beverly, Mass., and died 
in Boston, in 1855. 


91 
O Rock of Ages, one foundation. 
—H. A. Martin. 


ENRY ARTHUR MARTIN, minister, and 
the son of an English minister, was born July 
30, 1831, in Exeter, and educated at Eton and 
Christ Church College, Oxford. In 1856 he be- 
came assistant pastor of Hollow, near Worcester; 
in 1858, vicar of Laxton and Moorhouse, Notting- 
hamshire, serving there until his resignation, in 
1898. He wrote four hymns for Church Hymus, 
1871, and among these is found the hymn “O Rock 
of Ages, one foundation.”’ In 1904 he wrote a 
Passion hymn. These five hymns by this author are 
all in use. 
The melody, by L. M. Lindeman, was composed 
for Grundtvig’s baptismal hymn, ‘‘O lad din Aand nu 
meacos: vere: (landst. 39: LH 142): 


182 


92 


Father, be Thy blessing shed. 
—S. GILMAN. 


| (eee hymn, intended mainly for use at the or- 
dination of ministers, was first printed in 1863. 
It appeared, somewhat changed, in The Hymnal 
of the Ohio Synod, published 1880. 

The melody (Hollingside), by John B. Dykes 
(1823-1876), an English composer, was written for 
the first edition of Hymns, Ancient and Modern, 
1861. It appeared there as the setting for C. Wes- 
ley’s ‘Jesus, Lover of my soul.” Hllingside Cot- 
tage was the name of Dyke’s first family home near 
Durham. 

Samuel Gilman was born February 16, 1791, in 
Gloucester, Mass. He was educated at Harvard 
University, receiving his degree in the year 1811. 
He served as Harvard instructor, 1817-1819. In 
1819 he became pastor of the Unitarian congrega- 
tion of Charleston, S. C., where he served until his 
death at Kingston, Mass., 1858. ‘Three of Gilman’s 
communion hymns have been given a place in several 
Unitarian and other hymnals. 


93 


How beauteous are their feet. 
—I. WarTTs. 


How beautiful upon the mountains are the 
feet of him that bringeth good tidings, that 
publisheth peace; that bringeth good tidings of 
good, that publisheth salvation; that saith unto 
Zion, Thy God reigneth! Thy watchmen shall lift 


183 


up the voice: with the voice together shall they sing; 
for they shall see eye to eye, when the Lord shall 
bring again Zion. Break forth into joy, sing to- 
gether, ye waste places of Jerusalem: for the Lord 
hath comforted His people, He hath redeemed 
Jerusalem. The Lord hath made bare His holy arm 
in the eyes of all the nations; and all the ends of 
the earth shall see the salvation of our God” (Isaiah 
5227-10): 

These words of the prophet form the basis for 
this hymn. It was written in 1707 and printed first 
in Hymns and Spiritual Songs, with the title: The 
Blessedness of Gospel Times; or The Revelation of 
Christ to Jews and Gentiles. 

The melody (Carlisle) was composed by Charles 
Lockhart, an English musician, b. 1745, d. 1815. 
Some authorities find the date of the melody in 
1769; others in 1791. 


94, 


Lord of the living harvest. 
—J. S. B. MonseE Lt. 


Pus hymn was printed first in Monsell’s Hymns 
of Love and Praise, second edition, of 1866, 
and ordered for use at the ordination of ministers. 
In the present form the hymn is also found in Mon- 
sell’s Parish Hymnal, 1873, and in his Spiritual 
Songs, 1875. In one hymnal of 1871 the hymn is 
somewhat changed and is there ordered to be sung 
at the meetings of the church ‘‘Guilds and Associa- 
tions.” Both editions of the hymn were authorized 
by the poet. This hymn is one of Monsell’s best 
productions. 


184 


The melody (Arcadelt) was written by Jacques 
Arcadelt (1514-1555), a prominent composer of 
the Netherlands, who labored in Rome and in Paris. 
He wrote a great number of madrigals and chants. 

John Samuel Bewley Monsell was born March 
2, 1811, in St. Columbs, Londonderry, Ireland, 
where his father, Thomas Bewley Monsell, was 
archdeacon. John Samuel was educated in Trinity 
College, Dublin, and was ordained to the ministry 
in the Episcopalian Church and appointed assistant 
to Bishop Mant. Afterwards he served as chancel- 
lor of the bishopric of Connor and as rector of 
Ramoan. In 1853 he became vicar of Eghan and 
in 1870 rector of St. Nicholas, Guilzford. He died 
there in 1875 thru an accident, falling down from 
the roof of the church, which was undergoing re- 
pairs. Monsell wrote about 300 hymns. Of this 
number about one-fourth are in common use. 


95 


Lord of the Church, we humbly pray. 
—HE. OSLER. 


ae hymn appeared first in Hall’s Mitre Hymn 
Book, 1836. It is listed there as a Pentecost 
hymn. The following year it was printed, slightly 
changed, in the author’s Church and King. It is really 
a paraphrase on C. Wesley’s hymn, ‘“Thou Jesus, 
Thou my breast inspire,” but the similarity is notice- 
able mainly in the last stanza. Osler’s hymn is very 
widely used. 

The melody (Burleigh) was written by Arthur 
Henry Brown, born 1830, in Brentwood, Essex, 


185 


England. He was an organist and professor in his 
native city. 

Edward Osler was born 1798, in Falmouth. His 
parents were Non-Conformists, but their son joined 
the Episcopal Church. He was educated for the 
practice of medicine, first under Dr. Carvosse of 
Falmouth, and later at Guy’s Hospital, London. 
For a time, from 1836, he was connected with the 
‘Society for the Advancement of Christian Educa- 
tion.” After 16 or 17 years of practice as a physi- 
cian, he located in 1841 in Truro. Here he began 
literary activity as editor of the Royal Cornwall 
Gazette and as author of religious and secular writ- 
ings in poetry and prose. In 1835 he edited, to- 
gether with the preacher, W. J. Hall, Mitre Hymn 
Book. ‘This contained 50 of Osler’s hymns. He 
died March 7, 1863, in Truro. 


96 
In Thee alone, O Christ, my Lord. 
Til dig alene, Herre. Krist.—Landst. 16. 
Allein zu dir, Herr Jesu Christ. 
—J. SCHNEESING. 


ap RULY, my soul waiteth upon God: from 
Him cometh my salvation” (Psalm 62:1). 

The hymn was printed in excerpt about 1540. It 
is found in Low German in the Magdeburg Hymnal 
of 1542, ‘‘Alleyn tho dy,” and bears the superscrip- 
tion, 4 Penitential Hymn. The earliest issues of 
the hymn do not give the author’s name. One of 
Schneesing’s pupils, Marx Wagner, relates in his 
Einfaltiger Bericht, etc., Erfurt, 1597, that Schnees- 
ing composed and wrote this hymn into the Kirchen 


186 


A gende, prepared by him in 1542 for his church in 
Freimar. In several South German hymnais the 
hymn is ascribed to Conrad Huber (Huaber), born 
1507, who was a theologian from the Basel Uni- 
versity, and pastor of St. Thomas Church of Strass- 
burg from 1531. He died in 1545. But it is com- 
monly accepted that Huber only undertook certain 
revisions of the hymn. In the oldest Strassburg 
Hymnal, where the hymn is found, there is no men- 
tion of the author. Luther introduced the hymn in 
the Valten Babst Gesangbuch of 1545. Since that 
time it has generally been included in most_of the 
Lutheran hymnals of Germany, Denmark, and Nor- 
way. he first Danish translation was made by 
Hans Thomiss¢gn, 1569. ‘There are 6 or 7 English 
translations. ‘The first English version was made 
by) COC. Jacobi, 1725) ‘In Thee, Lord; Christais 
fixed my hope.” ‘The version adopted by The Lu- 
theran Hymnary is that rendered by the Rev. A. 
T. Russell, 1851. (For notes on Russell’s work, see 
No. 26.) 

“Allein zu dir, Herr Jesu Christ” is the only 
hymn which we have from Schneesing. But it is 
immortal. It is quite commonly used during the 
confessional service and is very fitting for the oc- 
casion. In Landstad’s Hymnal it is listed for use 
before the sermon at the morning service. The 
melody has also been ascribed to Schneesing, but it 
is more likely an adaptation of an older Roman 
Catholic melody. It was first printed in Valten 
Babst’s Geistliche Lieder and has ever since been 
used in connection with this ‘hymn. 

Johannes Schneesing, with the cognomen Chyo- 
musus, was born in Frankfurt am Main. Some 


187 


time before 1524 he was appointed as assistant pas- 
tor to Johann Langenheyn, who was in charge of St. 
Margaret’s Church of Gotha and who, in 1522, had 
begun to proclaim the evangelical doctrine. Later, 
Schneesing became pastor in Freimar, near Gotha. 
He is mentioned as a very learned, able, and pious 
man. He was zealous for the proper care of the 
young and prepared a catechism for them. He car- 
ried on active educational work among his people, 
catechized the children at the public services, and 
instructed them thoroly. His pupil, Marx Wagner, 
relates that he taught the children many hymns and 
melodies which he himself had written and com- 
posed. Schneesing died 1567, in Freimar. 


97 
Before Thee, God, who knowest all. 
Jeg staar for Gud, som alting ved.—Landst. 53. 
—M. B. LANnpsTAp. 


ar HIS hymn was first printed in 1861 in Land- 
stad’s Udkast til Kirkesalmebog. ‘The Scrip- 
tural basis for this hymn is as follows: First stanza, 
Ezra 9:6: ‘“O my God, I am ashamed to lift up 
my face to Thee, my God: for our iniquities are 
increased over our head, and our trespass is grown 
up unto the heavens.’ Second stanza, Psalm 51:11: 
“Cast me not away from Thy presence; and take 
not [Thy Holy Spirit from me.” Third stanza, Luke 
18:14: “I tell you, this man went down to his house 
justified rather than the other; for every one that 
exalteth himself shall be abased; and he that hum- 
bleth himself shall be exalted.”” Each stanza closes 
with the prayer of the publican: ‘Lord, have mercy 


/188 


upon me!”’ The English translation adopted for 
The Lutheran Hymnary was rendered by the Rev. 
Carl Dgving in 1909. 

The melody is found in Johann Walther’s Stimm- 
buch, used there as the setting for Luther’s hymn, 
WY aten) unser im \Dlimmelreich)’) (Li Eh, 135.9 ae 
has also been asserted that Luther composed the 
melody. It was printed in Valten Schumann’s Ge- 
sangbuch of 1539 with Luther’s ‘“‘Vater unser.”’ It 
is found in all the Lutheran chorale books which 
followed. J. S. Bach made use of it in his Johan- 
nes’ Passion, and Choralgesdnge. Mendelssohn 
introduced it into the Sixth Sonata for organ. In 
England the melody has been called ‘““The Lord’s 
Prayer.’ Other names’ are, ," The Old 112th fama 
“Vater Unser.’”’ In England it was first printed 
in 1558 with Bishop Cox’s versified paraphrase of 
the Lord’s Prayer. The following year it was also 
set to the 11th Psalm. It is generally found in the 
leading English and American hymnals. 

Magnus Brostrup Landstad was born October 
7, 1802, in Maas¢é, Finmarken, where his father 
served as pastor at the time. Landstad was accord- 
ingly baptized in the ‘‘northernmost church in the 
world.”’ In Oksnes he spent seven of his childhood 
years (from 2 till 9). Aside from the solitude, 
storm, and darkness, which prevailed in that region 
and oppressed the mind, war, hunger, and high 
prices often caused the ever increasing family to 
feel the lack of the very necessities of life. During 
his childhood occurred also the removal of the 
family from Oksnes to Vinje, Telemarken, October, 
1811. The very next year was also a year of 
famine, 1812. All over the country the grain froze 


189 


and the people suffered intensely from the war and 
high prices. But from Vinje Landstad could also 
draw brighter memories. He spent his childhood 
amid natural scenes which, tho harsh enough in the 
winter, still in the summer were replete with magic 
inspiration, and these environments warmed his 
spirit and placed an indelible stamp upon the feel- 
ings and imagination of the future hymn writer. 

He received his preparatory training from his 
father, and in 1822 he began his studies at the uni- 
versity. During the following year he took his 
master’s examination and began the study of the- 
ology. When it became difficult for his parents to 
pay his expenses in Christiania, he was given a posi- 
tion as family tutor in Hadeland. The following 
year he returned to the university and continued his 
studies under the teachers Hersleb and Stenersen. 
In December, 1827, he passed the final examina- 
tions with the grade ‘‘laudabilis.” His graduation 
sermon was preached upon the text in 1 Cor. 11: 
28-29. In November, 1828, he was appointed resi- 
dent vicar of Gausdal. The following year he was 
married to Vilhelmine Lassen, a daughter of Albert 
Lassen, the dean of Grau, in Hadeland. In 1834 
he was appointed to the pastorate of Kviteseid, and 
in 1839 he became his father’s successor as pastor 
of Seljord. In Kviteseid his income was very 
meagre, and sickness in his family further increased 
his difficulties. He was stricken with an attack of 
pneumonia and could not take over his father’s 
charge until 1840. In Seljord he labored for eight 
years under the most trying circumstances. 

In Landstad’s Sange og Digte there are two 
memorial poems which date from his first year as 


190 


-a student. These poems were written as a tribute 
to two of his brothers who passed away. Aside 
from the inner promptings in his own soul, Land- 
stad’s interest for hymn writing was awakened thru 
an interesting incident of which he himself relates 
the following: ‘‘Once during my student days I 
happened to walk by a house where an auction sale 
of books was in progress. The doors were open 
and I entered without having in mind to make any 
purchase. Just then a package of old books was 
offered. I made a bid of four cents, the deal was 
made, and I walked home with my package. It 
contained two volumes in leather binding. One 
was Freuden-Spiegel des ewigen Lebens, by Philipp 
Nicolai. On the last few pages of this book four 
of Nicolai’s hymns were printed. ‘The other book 
was Arrebo’s Hexaemeron, The Glorious and 
Mighty Works of the Creation Day. In that man- 
ner two splendid hymn collections, one German and 
one Danish-Norwegian, unexpectedly came into my 
possession. I was not acquainted with either of 
these works before. Nicolai’s hymns appealed to 
me very strongly, and I at once made an attempt 
to translate them. ‘Wachet auf, ruft uns die Stim- 
me’ was rendered into Norwegian in essentially the 
same form as it now has in the hymnal, ‘Zions Veg- 
ter hever Rgsten.’ The second hymn, ‘Wie schon 
leuchtet der Morgenstern,’ was given a free render- 
ing. This hymn, ‘Af Hgitheden oprunden er,’ was 
already used by our church thru Kingo’s Hymnary. 
Later on, therefore, when it became my duty to 
prepare the hymn book for the church, I limited 
my work upon this hymn to a few minor changes 
in Kingo’s version. My experience with these hymn 


19] 


collections, I believe, gave me the first impetus in 
the direction of hymn writing. Furthermore, it 
gave me a deeper insight into the life and spirit of 
the old church hymns.” 

Landstad’s first original hymn dates from his 
sojourn in Gausdal, “Ser jeg mig i Verden om” 
(Landst. 399). During his pastorate in Kviteseid 
he composed three hymns for the Reformation 
festival of 1837. Two of these were sung in his 
church on November 5 of that year: “O Kristen- 
hed! i Nattens Stund’’ (Landst. 556) and “‘Herrens 
Raad ei Stév udgrunder.”’ But, if Landstad had al- 
ready in his student days gained an “‘insight into the 
life and spirit of the old church hymns,” this deep- 
ened more and more as he began to delve into the 
works of the hymn writers of the Church. Land- 
stad’s Hjertesuk (Prayers) are the direct fruit of 
these studies. In 1841, shortly after moving to 
Seljord, he published Hjertesuk til hver Dag i Ugen, 
Morgen og Aften, saa vel som ved andre Anled- 
ninger (Prayers for Morning and Evening, and 
Other Occasions). ‘Chis work has later been printed 
in a great many editions and has proved a blessing to 
many. ‘Ten of these Prayers are written by Land- 
stad. Among these may be mentioned the follow- 
ing: “Slukt er Dagens lyse Flammer”’ (Landst. 616) ; 
“Jeg ligger her i Vaande”’ (Landst. Norw. ed. only, 
621). The rest of these prayers were rewritten by 
Landstad and given better form. Two years later 
seven of his hymns appeared in the periodical Nor. 
Five of these are original. ‘There is a marked for- 
eign element, however, in many of these hymns. It 
is apparent that Landstad at the time borrowed 
from the Danish poets. He had not yet fully ac- 


192 


quired the homelike and warmhearted tone which 
characterizes his later hymns. During his stay in 
Kviteseid he began to gather folk-songs. He com- 
pleted the collection in Seljord and published it in 
1853 under the title: Norske Folkeviser. This re- 
ceived much favorable mention from P. A. Munch 
and others. His work in the field of folk-song had 
great influence upon his development as a writer of 
hymns. Thus he learned to appreciate the force of 
that unaffected poetry which, by means of direct and 
simple words, is often capable of making the most 
profound impression upon the soul. He called forth 
from his harp deep-sounding and forceful tones, 
that struck a sympathetic chord in the hearts of his 
people. Thru the hymns which he published the 
attention of the church officials was directed to 
Landstad as the logical man for the work of pre- 
paring a new hymn book for the Church of Nor- 
way. In 1848 the church department of the govern- 
ment requested him to undertake this task. 

He declined at first, because his pastorate in Sel- 
jord claimed so much of his time. It left him no 
opportunity for study and research in the vast field 
of hymnological literature which would necessarily 
require his attention. He therefore applied for the 
pastorate of Fredrikshald and was appointed in 
1849. The church department had not, however, 
given up the plan for a new hymn book for Norway, 
especially since W. A. Wexels, a ‘“‘prominent fol- 
lower of Grundtvig,” in 1849, also issued a hymnal 
which he desired should be considered as a “pro- 
posal for a new hymn book, submitted to the judg- 
ment of fellow-Christians.” In 1852 Landstad was 
again called upon to undertake the task of pre- 


193 


paring the new hymnal. The same year he was 
granted an assistant in his pastorate, and on Oc- 
tober 7th a royal resolution was passed, delegating 
to Landstad the work of preparing ‘‘an outline for 
a new church hymn book essentially along the lines 
of his previous plan.” In 1855 Landstad published 
Martin Luthers aandelige Sange, oversatte og med 
Anmerkninger ledsagede. Julesalmer, saadanne som 
de agtes foreslaaet til kirkelig Brug, followed in 
1856; and in the spring of 1861 appeared the long 
looked for Kirke-Salmebog, et Udkast. 

Landstad’s book was reviewed by Morgenbladet, 
one of the leading papers of Norway, in the issues 
of August and September, 1861. It expressed sin- 
cere appreciation of the hymnal, and voiced the 
hope that the church people of Norway would rally 
around it. But the article also expressed the con- 
viction that the omission of certain hymns, and 
especially that the form of language employed in 
the book would prove a serious handicap in the way 
of its adoption by the congregations. ‘This review 
gave the occasion for Landstad’s reply, Om Salme- 
bogen, first printed in Morgenbladet and later is- 
sued in book form. A few excerpts will suffice to 
show the trend of his defence: “If we are to get 
a new hymnal, we must meet on the common ground 
of faith in love. We must not cling to our pre- 
conceived notions; not let ourselves be influenced 
too strongly by our own tastes, nor by our own de- 
sires, as tho we were the only ones entitled to a 
hearing. We must concede that others may also 
have well-founded demands that ought to be con- 
sidered. Again, it is the common observation that 
differences of opinion arise over minor matters; 


hoe 


but we must always hold fast to this principle: ‘not 
to swerve a hair’s breadth at any time from the true 
ground of faith’ (at vi ei fra Troens Grund et Haars- 
bred viger nogen Stund). Even those who speak 
from the assurance of conviction and authority may 
often be grossly in error. A church hymnal has the 
lofty mission of serving as the medium of confes- 
sion, of prayer, and of praise, during the service 
in the sanctuary, as well as in the home. We must 
offer something which will serve the congregation, 
something which will satisfy their longings and de- 
sires, and which will fulfil the lofty missions of such 
a publication. If we would simply take from the 
existing material all that which seems serviceable 
and useful and without further ado include it in our 
hymnal, then a book could very easily be manufac- 
tured. The very fact that the material is so vast 
in volume, makes our task difficult, because all of 
it is not pure gold.”’ Concerning the qualifications 
of the one who is to prepare a hymnal, Landstad 
writes: ‘‘An intimate knowledge of hymn litera- 
ture, poetic vision, and knowledge of language, 
especially the mother tongue. We must above all 
demand that our hymns possess the elements of 
poetic diction and true song. We must consider 
the historical and churchly elements, and the ortho- 
dox objectivity, which shows respect for church 
tradition and which appreciates the purity, clear- 
ness, and force of confession. But the sickly sub- 
jectivity, which ‘rests’ in the varying moods of pious 
feelings and godly longings, and yet does not pos- 
sess any of the boldness and power of true faith— 
such as we find in Luther’s and Kingo’s hymns— 
this type of church hymn must be excluded. Finally, 


195 


we must also emphasize the aesthetic feature. Art 
must be made to serve the Church, to glorify the 
name of God, and to edify the congregation of 
worshipers. But it must always be remembered that 
art itself is to be the servant and not the master.” 
This very scientific and earnest defence gained many 
friends for Landstad’s work on the hymnal, but it 
did not, however, win universal sympathy for the 
new forms of expression which he had introduced 
into the language of the hymns. During the fol- 
lowing years, Landstad thoroly revised his hymn 
book. In the course of this work about 30 of the 
more recent hymns were omitted and an equal num- 
ber of the older hymns were included. Numerous 
changes in expression, however, were incorporated. 
In 1865 the revised work was submitted to a com- 
mittee consisting of Bishop A. Grimelund, Prof. M. 
J. Monrad, Prof. R. T. Nissen, the pastor (later 
bishop) J¢rgen Moe, and the associate pastor 
(later bishop) J. N. Skaar. The committee gave 
their opinion in 1867, and considered the matter 
again in 1868. Finally, on October 16, 1869, the 
book was authorized for use at the public services 
in all places where the congregations would so de- 
cide. By the close of the year 1870 Landstad’s 
Hymnary had been introduced into 648 of the 923 
pastorates in Norway. 

On April 23, 1859, Landstad was appointed to 
the charge of Sandherred and labored there until 
1876, when he sought release from his duties. ‘He 
was granted a pension of 4,000 crowns. We quote 
the following estimate written on this occasion: 
‘In consideration of Landstad’s long and honorable 


196 


service in the ministry, and in recognition of his 
great merits as a writer of hymns and as editor of 
the hymn book, we have recommended for him a 
larger pension than any other pastor hitherto has 
received. The committee heartily endorses this and 
recommends: ‘That the proposed pension for M. 
B. Landstad be granted.”’ This pension was granted 
unanimously and without debate by the Storting in 
1877. The golden wedding on May 6, 1879, de- 
veloped into a grand celebration in honor of the 
aged hymn writer and his estimable wife. Innumer- 
able presents, telegrams, and flowers were showered 
upon them from all parts of the country, and by all 
classes of people. Landstad died October 9, 1880, 
in Christiania. 

We quote the following from Skaar’s Norse His- 
tory of Hymns: “Landstad’s work in folk-song 
gave a decidedly Norwegian ring to his hymns, but 
he did not succeed in liberating himself entirely from 
his Danish patterns. . . . His hymns are marked 
by a popular tone, but they also possess pure warmth 
and: earnestness and a churchly spirit. . . . Inva 
masterly manner he restored the old hymns. Altho 
his hymns, in poetic flight, cannot rank with Kingo’s, 
still in depth of feeling, in truth and sobriety of 
sentiment, in simplicity, in clear and open confes- 
sion of that which is most precious to the heart of 
the Christian, in these Landstad’s hymns rank equal 
to, if not above, the best in the possession of our 


Church.”’ 


197 





98 


Lord Jesus Christ, Thou highest good. 
O Jesu Krist, from, mild og god.—Landst. 50. 
Herr Jesu Christ, du héchstes Gut. 
—B. RINGWALDT. 


| pit hymn has been called one of the most 

beautiful table-hymns in the German language. 
It was printed 1588 (’89), in Ringwaldi’s Christ- 
liche Warnung. It contained eight stanzas. In 
J. Weber's Hymnal of 1638 it has this superscrip- 
tion: dA Fine Song concerning the Forgiveness of 
Sins, Especially for Solace in Anguish of Conscience. 
Another author says: ‘‘Here the penitent sinner is 
truly represented. May God give to all who are 
guests at His table, such believing hearts and such 
a penitent spirit as is portrayed in this hymn.” 
Heinrich Miller said concerning the third stanza, 
that he shed tears whenever he sang these soul- 
stirring words. ‘The words of this stanza also 
formed part of the daily prayer of the pious Gen- 
eral Plotz, who was confined to the sickbed for 
three years before death came to relieve him. Al- 
tho the fear of God had always been uppermost 
in his heart, still he acknowledged that of himself 
he possessed nothing whereon he could stand be- 
fore God on the day of judgment. Hence, this 
hymn was his favorite, and with its spirit in his 
heart and with its words upon his lips he departed 
‘in faith from the world and took up his abode with 
God and the saints.’ Of the fourth stanza, Aven- 
arius says that it is an effective remedy for the trou- 
bled conscience. He relates that he was once called 


198 


to visit a person who was stricken with anguish and 
who imagined that he could not find grace with God, 
because he had committed certain gross sins con- 
trary to his own better knowledge. “With no man- 
ner of words was I able to comfort him,’ says 
Avenarius, “until I recited to him the fourth 
stanza of this hymn. Then he began to ask if it 
really was true as the hymn expressed it. When 
I managed to assure him of this, he said: ‘Very 
well, on these words will I trust, and no devil shall 
again wrest them from my heart.’ Some years later 
he told me that whenever this anguish of conscience 
attacked him, he would comfort himself with these 
words, and he requested that this stanza be sung 
at his burial’? (Skaar). 

In the Danish-Norwegian church there are four 
translations of this popular hymn. The version 
in Landstad’s Hymnal is by Bertel Kristian Aegi- 
dius (Gjgdesen), preacher, hymn writer, and trans- 
lator, born 1673; became pastor of Varnes, near 
Aabenraa; died in 1733. ‘This translation was used 
also by Pontoppidan in his hymnal of 1740. Our 
English translation is by F. W. Young and was 
first printed in The Family Treasury in 1877. The 
fifth stanza of the original has been omitted. This 
is the case also in Landstad’s Hymnal. Our melody 
was composed by the Rev. G. W. Torrance, an 
English preacher and musician, born 1835, and died 
in 1907. The Danish-Norwegian version has re- 
tained the meter of the original, and in Landstad’s 
Hymnal it is sung to the melody, “Naar Tid og 
Stund den er forhaand,” ‘““Wenn mein Stiindlein vor- 


handen ist” (L. ‘1H. 582). 


199 


99 


O, Thou that hearst when sinners cry. 
—I. Warts. 


| ea hymn is a part of Watts’ paraphrase of the 
Sist Psalm, published in Psalms of David, 
1719. ‘The complete original is very seldom used, 
but the shortened form has found a place in nu- 
merous hymnals. 

The melody (Hamburg) is based on a Gregorian 
church tune and has been arranged by the American 
church composer, Lowell Mason (1792-1872). 


100 


We stand in deep repentance. 
—Ray PALMER. 


Te hymn appeared first in the Presbyterian 
hymnal, Parish Hymns, 1843. It was written 
in 1834, for the Passion season, and is a free version 
of a German hymn. The melody is by the French 
musician, Louis Bourgeois. It was first used for 
Clement Marot’s paraphrase of the 130th Psalm: 
“Du fort de ma détresse’” (‘‘Jeg raaber fast, o 
Herre,” Landst. 191; ‘“‘O Lord, hear Thou my call- 
ing,’ L. H. 218). It is not possible to determine 
whether Bourgeois composed the melody or bor- 
rowed it from some other source. It has been 
claimed that the tune originally was a popular dance 
melody. It was arranged for chorus by the famous 
musician Claude Goudimel (ca. 1510-1572). 

Ray Palmer, the son of Judge Thomas Palmer, 
Rhode Island, was born November 12, 1808, in 
Little Compton, R. I. He received his early edu- 


200 


cation at home. At the age of thirteen he was sent 
to Boston to work as a clerk in a dry goods store. 
His remarkable talents drew attention, and soon 
we find him as a student at Phillips Academy, An- 
dover, where the completed the three-year course of 
study. He entered Yale and was graduated in 
1830. Having completed the course at Yale, he 
took up the study of theology, one year at New 
York, followed by three at New Haven. He served 
for a time as teacher in the Ladies’ Seminary at the 
latter place. He was ordained to the ministry and 
called to serve Central Congregational Church of 
Bath. While in this position he wrote some of his 
best hymns. In 1850 he was called to the First Con- 
gregational Church of Albany. Finally, in 1865, 
he was elected corresponding secretary of the Amer- 
ican Congregational Union and removed to New 
York City. He served in this work until 1878, 
when he resigned and took a pastorate in Newark, 
New Jersey, where he died in 1887. 

Ray Palmer left eleven works of poetry and 
prose. His hymns are of high rank and have been 
very popular. ‘They were printed in the following 
issues: Spiritual Songs for Social Worship, by 
Thomas Hastings and Lowell Mason; Spiritual 
Improvement, 1839, later published under the title, 
Closet Hours, 1851; Remember Me, or The Holy 
Communion, 1865; Hymns and Sacred Pieces, etc., 
1865; Hymns of My Holy Hours, and Other Pieces, 
1868; Voices of Hope and Gladness, 1881. Dr. 
Palmer is one of the most prominent American 
hymn authors. His first hymn, ‘““My faith looks up 
to Thee,” written when Palmer was only 22 years 


201 


of age, is one of the finest hymns in the English 
language (See L. H. 456). The greater number 
of his hymns are in use in England and America. 
Many of them have found a place in English-Lu- 
theran hymnals. His best hymns are truly Scrip- 
tural, artistic, and full of feeling, yet not sentimental. 
They are well suited for use in the congregations. 


101 
I Come to Thee, O blessed Lord. 
Jeg kommer her, o s¢de Gud.—Landst. 54. 
; —M. B. Lanpsrap. 


Ich stell mich ein, O frommer Gott, 
zu deinem himmlischen Gastgebot, 
dazu du mich geladen hast; 

hilf, dasz ich sei ein wiirrdiger Gast. 


Unverfalschter Liedersegen, Vierte Aufl., 1863. 


HIS stanza, whose author is unknown, was 
translated by Landstad, who also wrote the re- 
maining stanzas of the hymn. 

The third stanza is based on the third verse of 
the 130th Psalm: “If Thou, Lord, shouldst mark 
iniquities, O Lord, who shall stand?” Also upon 
Psalm 19:12: ‘‘Who can understand his errors? 
Cleanse Thou me from secret faults.” The fourth 
stanza points to the ‘‘Lamb of God which taketh 
away the sin of the world” (John 1:29), and cries 
out with the Psalmist: ‘‘Cast me not away from 
Thy presence; and take not Thy Holy Spirit from 
me” (Psalm 51:11). (Notes on M. B. Landstad 
may be found under No. 97.) 


202 


Our English translation is by the Rev. Carl 
Dgving, 1910. (For notes on the melody, see 
No. 56). 


102 
‘Oppressed by sin, O Lord, to Thee. 
Ich komme vor dein Angesicht. 
, CWE GEEDERM 


4 es communion hymn was printed in Geistliche 
Oden und Lieder. This collection by Gellert 
contained 54 hymns, first edition, Leipzig, 1757. 
Our English translation is by the Rev. H. G. Tra- 
bert, 1898. ‘Chere are two older English transla- 
tions. 

The melody dates from the Middle Ages. It ap-- 
peared first in Trutebul’s Erfurter Enchirtdion, 
1524, where it was used with Luther’s hymn, “Aus 
Tiefer Noth schrei ich zu dir.” Johann Walther 
gave it figured contrapuntal harmony in his Geist- 
liches Gesangbiichlein, 1524. This melody is found 
in most of the Lutheran hymn books and has been 
given a place in many English hymnals. It is one 
of the classic church tunes. It was harmonized by 
Joh. Seb. Bach for his cantata, dus tiefer Noth. 
It has also been ascribed to Luther. 

Christian Furchtegott Gellert, son of the min- 
ister, Christian Gellert, in Hainichen, Saxony, was 
born July 4, 1715. He first attended school in 
Meissen. After having completed his theological 
studies at the University of Leipzig, he served for a 
time as his father’s assistant. The story is told 
that he had to make use of his sermon manuscript 
in the pulpit, as he could not depend upon his mem- 


203 


ory. This aroused dissatisfaction and criticism, be- 
cause the practice of using sermon manuscripts was 
not in accord with the traditions of the Lutheran | 
Church. Gellert then sought another vocation and 
resumed his studies at the university. He received 
his master’s degree in 1744, and the following year 
was appointed lecturer in the faculty of philosophy, 
and in 1751, extraordinary professor of philosophy. 
He lectured on poetry, rhetoric, and moral phil- 
osophy. In 1761 he was offered a position as or- 
dinary professor, but declined, since he did not feel 
strong enough. He always suffered from a weak 
constitution, and in his later years suffered much 
from hypochondria. Gellert died in TAS De- 
cember 13, 1769. 

As a rescher and as a man, Gellert was highly 
esteemed and loved by the students, both on account 
of his exceptional ability and on account of 
the keen interest which he showed toward his 
pupils, among whom were Goethe and Lessing. As 
an author and hymn writer, he gained considerable 
fame. His Fables (first series, 1746, second, 
1748), spirited and humorous, won him universal 
recognition and gave him a place among the Ger- 
man classics. He ranks high also as a writer of 
hymns. He is, indeed, not free from the rational- 
istic, moralizing tendencies of his age; yet in gen- 
eral his hymns are Scriptural and characterized by 
deep Christian piety and pathos, in spite of the fact 
that many of them are more didactic than lyric. 
He always prepared to write his hymns thru fervent 
prayer. His Geistliche Oden und Lieder mentioned 
above appeared in many editions, and many of 


204 





these hymns have been translated into English and 
other languages. Fifteen of Gellert’s hymns were 
translated by Birgitte Boye for Guldberg’s Hymnal. 


103 
Lord Jesus, think on me. 
. —SYNESIUS. 


a NERS of Cyrene, born ca. 370, belonged 
to an ancient and renowned family. The family 
records dated back seventeen centuries. Synesius 
visited Alexandria, Constantinople, and Athens and 
came in touch with the Neo-Platonic philosophy. 
He soon gained widespread fame as a philosopher, 
orator, statesman, and patriot. When the Goths 
threatened his land and people, Synesius went to 
the court of Arcadius and sought to arouse the 
rulers to prepare to meet the coming danger. ‘The 
court indulged the zeal, applauded the eloquence, 
and neglected the advice of Synesius’’ (Gibbon). 
When he was about forty years of age, he was 
converted to Christianity. In the year 410 he was 
chosen bishop of Ptolemais, much against his own 
will. He died in 430. 
H. H. Rader, Ph. D., says that Synesius shows 
a mixture of Christian teaching and Neeo-Platonic 
philosophy, but that he himself was conscious of the 
fact that he could not harmonize his philosophy with 
the doctrines of the Church. Many scholars have 
doubted his orthodoxy. Mosheim calls him a semi- 
Christian. Gibbon and Bingham believe that Sy- 
nesius denied the resurrection of Christ. Chatfield 
says that the hymn, ‘Lord Jesus, think on me,” 
shows that he was not a semi-Christian, and that he 


205 


did believe the resurrection of Christ. Julian agrees 
to the former, but holds that there is nothing in 
the hymn to show the latter. Many of the odes of 
Synesius have been translated into English. His 
life and poetry have of later years become the sub- 
ject of increased interest and research. 


104. 


Turn, Lord, Thy wrath away, in mercy spare us! 
Vreden din afvend, Herre Gud, i Naade. 
—Landst. 394. 

Afvend fra os, o Herre mild.—Landst. 390. 

—G. THymus. 


Aufer immensam, Deus, aufer iram 

et cruentatum cohibe flagellum, 

nec scelus nostrum properes ad aequam, 
pendere lancem. 


HIS is the first stanza of the only Latin- 

Lutheran hymn which has been given a place in 
the Norwegian-Danish hymnals. Its oldest known 
source is the so-called Vermanung an ganzen Deut- 
sche Nation, widder den Tiirkischen Tiirannen. 
Durch Joachim Greff von Zwickau. Auch ein scho- 
ner Lateinischer Hymnus, zu beten umb verzethung 
unser Missethat, zu Gott, Wittenberg, 1541. It ts 
also found, somewhat varied, in Hymni aliquot 
sacri, etc., Collectore Georgio Thymo, 1552. The 
title bears the note “‘incerti auctoris,”’ but a marginal 
reference added at the same time asserts that the 
hymn was composed by Geo. Thymus and revised by 
Philip Melanchthon. Wackernagel says that this 
hymn by Thymus is one of the grandest and most 


206 


stirring hymns that have ever been prayed or sung. 
It was translated into German in 1559, and this 
version, later rendered into Danish, was published 
in 1583. It retains the original meter of the Latin 
hymn as follows: 


Wend ab deinen Zorn, lieber Herr, mit Gnaden, 

Und lass nicht wiiten deine blutge Rute, 

Richt uns nicht streng nach unsern Missethaten, 
Sondern nach Giite. 


In the Danish it appears in Moltke’s Aandelige 
Flaandbog, 1639, by an unknown translator: 


Vreden din affvend, Herre Gud, aff Naade, 

Riset det blodige, som oss offuermaade 

Plager saa redlig aff en Vredes Brynde, 
Fordi vi synde. 


It appeared in Kingo’s Hymnal as an evening 
hymn for Sunday Quinquagesima. ‘The last two 
stanzas were in many churches sung after the ser- 
mon every Sunday during Lent. It fits best into 
the service on days of prayer together with the 
ancient church litany. 

In Landstad’s Hymnal there is also another trans- 
lation, or rather a free rendering of ‘Aufer im- 
mensam,’’ namely, ‘“‘Afvend fra os, o Herre mild” 
(Landst. 390). This version follows Martin Mol- 
ler’s ‘‘Nimm von uns, Herr, du treuer Gott.” It 
is written in a very different meter and was first 
published in Meditationes sanctorum patrum, etc., 
1584. In this collection the hymn has the title: 
‘Ein schon teglich Gebet, ftir allerlei Noth.” ; 


207 


105 


Father, Son, and Holy Spirit. 
Jeg er frelst og dyrekjgbt.—Landst. 42. 
Ich bin getauft auf deinem Namen. 
—J. J. RAMBACH. 


‘| aw baptismal hymn was first printed in the 
author’s Erbauliches Handbiichlein fiir Kinder, 
Giessen, 1734. It contained seven six-lined stanzas 
and bore the title, Erneuerung des Taufbundes (Re- 
newal of the Baptismal Covenant). Rambach set 
it to the melody ‘‘Wer weist wie nahe mir mein 
Ende” (Who knows how near my life’s expended? 
Luth. H. 579). Our English translation, rendered 
by Dr. Charles William Schafer, is not in the same 
meter as the original, and the sixth stanza is omit- 
ted. The Danish-Norwegian translation by Bir- 
gitte Boye is set to the melody, ‘“‘Synge vi af Hjer- 
tens Grund,” from the German “Singen wir aus 
Herzens Grund” (L. H. 110) . This was published 
in Guldberg’s Hymnal, 1778. The hymn is one of 
Rambach’s best, and is extensively used thruout the 
Lutheran Church. There are three English trans- 
lations. ‘The melody used in The Lutheran Hym- 
nary is by Melchior Vulpius, a German musician, 
born 1560 and died 1616, Weimar. 

Johann Jakob Rambach was born February 24, 
1693, in Halle. From his earliest youth he was 
taught to be obedient and God-fearing. His parents 
were both deeply influenced by the pietistic move- 
ment thru Spener. Rambach’s father was a car- 
penter without sufficient means to permit the son 


208 


to take up regular studies. But as the boy showed 
extraordinary talent he was sent to the gymnasium 
at Glaucha. At fourteen years of age he left this 
institution and began work in his father’s shop to 
assist his parents in providing for the family. The 
following year he sprained his foot so that he could 
not work for several months. Being advised by 
his physician not to return to the carpenter’s trade, 
and encouraged by his parents to take up his studies 
again, he entered school once more in 1708 and 
showed such progress that he was permitted to 
enter the university in 1712. On account of a 
serious condition of hoarseness, from which he suf- 
fered since his birth, he planned at first to study 
medicine. But he was strongly advised that the 
church does not only need preachers, but teachers 
as well. He then entered in earnest upon his the- 
ological studies. 

During the spring of 1719 he became ill and 
spent the summer as the guest of Duke Henkel at 
the latter’s country home. He soon regained his 
strength. In August he visited Jena, in which city 
he was called to lecture at the university. He was 
also frequently called on to preach in the church. 
Both his lectures and his sermons drew large num- 
bers. In the spring of 1720 he received his master’s 
degree. In 1723 he returned to Halle, where he 
was appointed adjunct and inspector of the orphan- 
age, later (1726) professor extraordinary; and at 
A. H. Francke’s death, 1727, Rambach was made 
his successor as regular professor. 

Rambach was esteemed very highly both as a 
professor and as a preacher. It has been claimed 


209 


that the jealousy of his fellow teachers at Halle 
caused him to leave his position there. In 1731 he 
received two calls; one from the Duke of Hessen, 
asking him to become principal theological professor 
and superintendent at Giessen; the other from Den- 
mark to become German court preacher and the- 
ological professor at the University of Copenhagen. 
Rambach chose Giessen. Here he found conditions 
quite different from those at Halle. The people had 
but little sympathy with an earnest and living Chris- 
tianity, and Rambach’s activity was soon met with 
scofing and opposition. It became a matter of con- 
tinued grief to him that his preaching did not seem 
to bear any fruit. But he continued to work with 
untiring zeal. In 1734 he received a call from the 
newly established University of Gottingen, to be- 
come principal professor of theology. He felt in- 
clined to accept this call, but yielded to the intense 
desire of the duke that he should remain. The fol- 
lowing year he was stricken with a violent attack 
of fever. He realized that his end was drawing 
near, and it was his constant prayer that he might 
retain consciousness until the last. He died the 19th 
of April, 1735. His last words were, “I hold fast 
to Jesus, and I am prepared to go to Him.” It has 
been asserted that Rambach died from intense sor- 
row and grief over his flock. 

Rambach wrote over 180 hymns. ‘They were 
published in Geistliche Poesien, Halle, 1720; Po- 
etische Fest-Gedancken, Jena and Leipzig, 1721; 
Erbauliches Handbiichlein fiir Kinder, Giessen, 
1734; Geistreiches Haus-Gesangbuch, Frankfurt 
and Leipzig, 1735; Wunder der bis zum Tode des 


210 


Kreutzes erniedrigten Liebe, Giessen, 1750. Ram- 
bach’s Geistliche Lieder, containing 165 hymns, was 
published in Leipzig, 1844, by Dr. J. L. Pasig. 
Many of his hymns were taken up by the German 
hymnals of the 18th century. Many are still in 
use. ‘here are fifteen of Rambach’s hymns in Eng- 
lish translation. 

Rambach’s hymns are characterized by depth of 
thought, combined with clearness of expression. 
They are thoroly Scriptural and churchly. Bunsen 
says that Rambach’s hymns formed a beautiful and 
very necessary counteraction to the sentimental 
poetry of his time. And Dr. J. L. Pasig says: 
‘Because his hymns flow out from a heart which 
is aflame with intense love of Jesus Christ, who 
alone can give that peace which the world cannot 
give, therefore they are also permeated by the spirit 
of the Holy Scriptures, and they speak no other 
language but the language of the Bible, in which 
Christ is the central figure and the guiding star.” 


106 


Our Lord and God, O bless this day. 
Lad denne Dag, 0 Herre Gud.—Landst. 43. 
—J. N. Brun. 


iets hymn is a free rendering of Bishop Brun’s 
“Gud Fader, Sdn, og Helligaand, vi for din 
Throne knele.” It appeared in five stanzas in 
Evangeliske Sange, Bergen, 1786. The hymn was 
revised for the Evangelical Christian Hymnal, 
1797, and this version was made use of by Land- 
stad. (Notes on J. N. Brun may be found under No. 
46.) Our English translation is by G. T. Rygh 


AAG 


(stanzas | and 4) and by C. A. Dé¢ving (stanzas 
2 and 3). The melody (Ein’ feste Burg), by Mar- 
tin Luther, was first published together with Lu- 
ther’s hymn “‘A mighty fortress is our God,’ the 
first edition published, 1529, in Geistliche Lieder, 
edited by J. Klug, Wittenberg. Since no copies are 
extant of this collection, the oldest known source 
is Johann Walther’s manuscript book of voice parts 
for hymns dating from 1530. 


107 


Thine forever, God of love. 
—Mary F. MAuvpeE. 


TP RS hymn was written in 1847 for the author’s 
class of girls at the Sunday School of St. 
Thomas Church, Newport, on the Isle of Wight. 
It was printed in 1848 in T'welve Letters on Con- 
firmation, also in Verse Memories. ‘Thine forever, 
God of love,” is her most favored hymn. It con- 
tained originally seven stanzas, of which our ver- 
sion has omitted the last two. 

Mary Fowler Maude, daughter of George Henry 
Hooper, of Stanmore, Middlesex, was born October 
25, 1819, in London. In 1841 she was married to 
the preacher Joseph Maude, vicar of Chirk near 
Ruabon, and hon. canon for St. Asaph. Her hymns 
were published in the above mentioned Twelve Let- 
ters on Confirmation, 1848, and in Memorials of 
Past Years, 1852. (For notes on the melody for 
this hymn see No. 16.) 


212 


108 
Father, Son, and Holy Ghost. 
—C. A. DorIna. 


es confirmation hymn was first printed in the 
author’s Christliches Haus-Gesangbuch, Elber- 
feld, 1821. ‘Vater, Sohn, und Heilger Geist,” has 
fifteen stanzas in groups, in different meters, ar- 
ranged as follows: 1-3, hymn of prayer for the chil- 
dren, to be sung by the congregation; 4-7, to be sung 
by the parents and teachers; 8-13, prayer to be sung 
by the children; 14-15 to be sung by the congrega- 
tion. Our present translation of stanzas 1-3 is by 
J. S. Stallybrass, 1859. 

Stallybrass was born in Irkutsk, Siberia, where his 
father, who was a member of the London Mis- 
sionary Society, was stationed. He resided for 
many years in Stoke-Newington, London, where he 
died, 1888. He translated a great number of hymns 
from the German. 

The melody of this hymn is by Johann Rosen- 
miller, director of music, Leipzig and Wolfenbit- 
tel, of the 17th century. The melody was composed 
in 1655 and later united with Albinus’ hymn, “‘Straf 
mich nicht in deinem Zorn” (L. H. 522). 

Carl August Doring was born January 22, 1783, 
in Mark-Alvensleben, Magdeburg. He attended 
school at Magdeburg, until his 19th year, when 
he went to Halle to study theology. He was dis- 
appointed in his studies under the influence of the 
rationalistic teachers, and his mind turned to the 
study of classic poetry. Having concluded his 
studies there, he served as a teacher in Waldenburg, 
in Silesia, and later in Magdeburg. Here he again 


213 


met the shoemaker, Ruben, of the congregation of 
the Moravian Brethren. He had stayed in his home 
during his school days in Magdeburg. In the re- 
ligious gatherings, which now were conducted at 
the home of this shoemaker, Doring was brought to 
a deeper insight into Holy Scriptures and also to 
a true conversion and a living faith. ‘The school at 
Magdeburg was closed by Napoleon in 1810. 
Doring then became family tutor in Helmsdorf, 
near Eisleben. In 1814 he was appointed after- 
noon preacher at St. Peter’s Church, Magdeburg, 
and in 1815 he became archdeacon of St. Andrew’s 
Church at Eisleben. There he carried on blessed 
work, visiting his parishioners, conducting Bible 
classes, and distributing sacred literature. In 1816 
he was called to the pastorate of the Lutheran 
church at Elberfeld, where he made great progress 
in establishing the socalled ‘‘Mission Societies.” On 
account of overexertion he began to suffer from lung 
disease, from which he died in 1844. He is one 
of the best and most prolific hymn writers of the 
19th century. His hymns give expression to an 
intense love of the Lord, but many of them show 
signs of having been produced hastily and without 
much attention to detail. The greater number of 
his hymns were published in Christliches Haus- 
Gesangbuch, of which the first part appeared in 
1821, and the second part in 1830. Doring wrote 
in all about 1,200 hymns. ‘Three of them have been 
translated into English. In Landstad’s Hymnal, 
No. 364 is by Doring. 


Fon Ne 





109 
Blessed Savior, who hast taught me. 


—J. M. NEALE. 


ae hymn appeared first in Neale’s Hymns for 
the Young, 1842, and had six stanzas. It is 
found in an abbreviated form in many hymnals. 
In some instances it has also been revised, the first 
line as follows: ‘‘Holy Father, Thou hast taught 
me.’ ‘The melody (Ripley) was composed by 
Lowell Mason, American church musician. It is 
based upon an old Gregorian chant. 

John Mason Neale, son of the preacher, Cor- 
nelius Neale, was born January 24, 1818, in Lon- 
don. He was graduated from Cambridge, 1840, 
and became Fellow at Downing College. Eleven 
times he won the Seatonian prize for religious 
poetry. He was ordained in 1841 and became 
warden of Sackville College, East Greenstead, 
1846. Here he established the Sisterhood of 
Margaret, a school for nurses, which in time de- 
veloped into an extensive institution including an 
orphanage, an intermediate school for young girls, 
and a reformatory at Aldershot. 

Dr. Neale was an exceptionally active man, and 
his piety bordered on fanaticism. ‘Thruout his life 
he had to'struggle against poverty and poor health. 
His Stories for Children were written chiefly to 
gain the means of existence. He ‘wasted’ his 
- earnings in his charity work for others. Dr. Neale 
wrote many historical and theological treatises. 
But especially important is his valuable contribu- 
tion to the treasury of church hymns. Besides fur- 
nishing many original hymns, he made a large num- 


215 





ber of splendid translations of Latin and Greek 
hymns and sequences. Of these, nineteen have 
found a place in The Lutheran Hymnary. Neale 
died in 1866 at the age of 44 years. His great 
service in the interest of church hymns will be more 
fully mentioned in a later paragraph. 


110 


Fear, my child, thy God and Lord. 
Frygt, mit Barn, den sande Gud.—Landst. 13. 
—B. PEDERSEN. 


Te hymn was originally printed together with 

another spiritual song, about the year 1608, 
under the following title: “Tvende aandelige an- 
degtige Sange, Odense Byes, mine gunstige gode 
geistlige og verdslige Qvrigheder med deres Me- 
nigheder til et ydmygt Taknemmeligheds Tegn, udi 
denne Forms Bekostning dediceret af B. Pedersen, 
K. ibidem’” (Kannik sammesteds). The author 
served as canon or minister in Odense or in some 
city in the district of Fyen. According to a resolu- 
tion of the church, the fourth stanza of this hymn 
was to be sung after Baptism, and the fifth stanza 
before Communion. It has been extensively used in 
the parochial schools of the church and as a closing 
hymn on confirmation day. 


Lil 


My God, accept my heart this day. 
—M. BrinGEs. 
W ITH my whole heart have I sought Thee: let 
me not wander from Thy commandments’ 


(Ps. 119:10). 


216 


This confirmation hymn, used largely in England 
and America, appeared first in the author’s Hymns 
of the Heart, 1848. In some hymnals it begins with 
the second stanza of the original, ‘‘Before the cross 
of Him who died.” ‘The melody (Evan) was writ- 
ten by the hymnwriter and composer, Rev. W. H. 
Havergal (1792-1842), who was a minister in the 
Episcopal Church of England and the father of 
Miss Frances Ridley Havergal. 

Matthew Bridges was born July 14, 1800, in Mal- 
don, Essex, England. He was educated in the Epis- 
copal Church, but in 1848 joined the Church of 
Rome. During his latter years he resided in Can- 
ada. Among his more important works may be 
mentioned Babbcombe, or Visions of Memory, with 
Other Poems, 1842. His hymns were published in 
Hymns of the Heart, 1848, and in The Passion of 
Jesus, 1852. Many of his hymns were first brought 
into use in America thru Henry Ward Beecher’s 
Plymouth Collection, 1855. Many of them are 
found in Roman Catholic and ritualistic collections. 
Bridges spent the latter part of his life in Quebec, 
where he died in 1893. 


112 

Hail to the brightness of Zion’s glad morning. 

—Tu. HAstInes. 
HIS hymn was included in Spiritual Songs, pub- 
lished by the author in 1831. ‘The melody 
(Wesley) was composed by Lowell Mason (b. 
1792, d. 1872), an American musician and an 
earnest worker for the development of church song. 

His home and field of labor was Boston, Mass. 


217 


Thomas Hastings, son of Dr. Seth Hastings, was 
born October 15, 1784, at Washington, Litchfield 
county, Connecticut. [wo years later the family 
moved to Clinton, Oneida county, N. Y. The boy 
showed marked musical talent at an early age, and 
thru intense private study in music he was able, at 
the age of 22, to begin giving lessons. Seeking a 
larger field, he moved to Troy in 1817, then to 
Albany, and in 1823 to Utica. Here he published 
a religious journal, where he gave expression to his 
ideas on church music. He began to draw attention 
to his work, and in 1832 he was called to New York 
City to take charge of several church choirs. There 
he labored for forty years, instructing church choirs, 
writing hymns, and composing melodies. He edited 
and published several collections of anthems and 
music books. Many of his hymns and melodies 
became very popular. His musical fame rests on 
the melody (Toplady) for ‘‘Rock of Ages.” Hast- 
ings died in New York, 1872. 

The collections published by Hastings include the 
following: Spiritual Songs for Social Worship, 
Utica, 1831-32; in this work he was assisted by L. 
Mason; The Mother's Hymn Book, 1834; The 
Christian Psalmist, N. Y., 1836; Devotional Hymns 
and Poems, 1850; besides Musica Sacra, Church 
Melodies, and other song collections. 


218 


113 
The morning light is breaking. 
| —S. F. SMITH. 


ae mission hymn was written in 1832 and 
printed the same year in Spiritual Songs, pub- 
lished by Hastings. It has gained great favor and 
has been translated into many languages. ‘The 
author himself relates that he has heard it sung 
in five or six different languages in Europe, Asia, 
and South America. 

The melody (Morning Light) was composed by 
G. J. Webb (b. 1803, d. 1887), organist in Boston. 
It was first printed in The Odeon, a collection of 
secular melodies published by Webb and Mason, 
Boston, 1837. It appeared here as the setting for 
the song, ‘‘’ Tis dawn, the lark is singing.” As a 
hymn tune it was first employed in The Wesleyan 
Psalmist, 1842. 

Samuel Francis Smith was born October 21, 
1808, in Boston. He was educated at Harvard and 
Andover. He studied theology at the latter place. 
In 1832 he became preacher in the Baptist Church 
and associate editor of the Baptist Missionary Mag- 
azine. He also wrote several articles for the En- 
cyclopedia Americana. From 1834 to 1842 he 
served as pastor at Waterville, Maine, and as pro- 
fessor of modern languages in Waterville College. 
In 1843 he removed to Newton, Massachusetts, 
where he became editor of the Baptist Missionary 
Union. He also assisted in preparing the Baptist 
hymnal, The Psalmist, where several of his own 
hymns were published. He published Lyric Gems, 
1854, and Rock of Ages, 1870. Many of Dr. 


Z19 


Smith’s hymns are sung in America and quite a few 
are in use in England. His best known hymn is 
“My Country, ’tis of thee,” written in 1832, and 
sung for the first time the 4th of July, at a chil- 
dren’s festival in Park Street Church, Boston.  S. 
F. Smith died November 16, 1895. 


114 
Savior, sprinkle many nations. 
—A. C. COXE. 
O shall He sprinkle many nations” (Isaiah 


SAN A 

The first part of this hymn was written on Good 
Friday, 1850. The hymn was completed the fol- 
lowing year during the author’s visit to England. 
The words came to him as he was walking near 
Magdalen College, Oxford. This is commonly ac- 
cepted as Coxe’s best hymn. It is also one of our 
best missionary hymns and is used as such in Amer- 
ica and England. It was first printed in a collec- 
tion of hymns published by the Rev. E. Hawkins, 
1851, on the occasion of the jubilee festival of the 
“Society for the Propagation of the Gospel.” The 
hymn was not taken up in the American Episcopal 
Hymnary. Coxe was himself a member of the com- 
mittee drafting this hymnary, and he would not 
permit the committee to include any of his hymns 
in that collection. The melody (Love Divine) was 
SCompascain wlS72) by Goi Bo Leleune ile. was 
originally written for C. Wesley’s hymn, ‘‘Love 
divine, all love excelling.” 

Arthur Cleveland Coxe was born May 10, 1818, 
at Mendham, New Jersey. His father was 


220 


Dr. Samuel Hanson Coxe, a pastor in the Pres- 
byterian Church. A. C. Coxe was educated at the 
University of New York, where he was graduated 
in 1838. Later he studied theology at the seminary 
of the Presbyterian Church and was ordained to the 
ministry 1841. He served for a time as pastor of 
Morisania, Hartford, and Baltimore. In 1863 he 
moved to Calvary Church, New York City. Two 
years later he was chosen bishop of Western New 
York with residence in Buffalo. Previous to this 
he had been chosen bishop of Texas, but did not 
accept the election. He died in Buffalo, July 21, 
1896. Bishop Coxe was a prominent man of his 
time, a strong personality, and a prolific writer. His 
Christian Ballads have gained wider popu than 
any of his other works. 


115 
Look from Thy sphere of endless day. 
—W. C. BRYANT. 


aus hymn was written in 1840 for a mission 
festival. It was first printed in Songs for the 
Sanctuary, 1864. It has since been taken up in 
many hymnals in America and England. ‘The mel- 
ody (Halborn Hill) is taken from the English col- 
lection, St. Alban’s Tune Book, printed 1865. 
William Cullen Bryant, the first American poet 
of rank, was born November 3, 1794, in Cumming- 
ton, Mass. He was educated at Williams College. 
He was called to the bar in 1815, and spent a few 
years as an attorney in Great Barrington. In 1825 
he left his practice there and removed to New York 
City, where he became the editor of The New York 


221 


Review. He had already before this time written 
considerable poetry and had won fame thru his 
poem Thanatopsis, which was published in the New 
York Review in 1817. From 1829 he served for a 
number of years as editor-in-chief of The New York 
Evening Post. In this capacity he made several 
trips to Europe and various parts of America and 
sent extensive contributions to The Review. ‘These 
were later published in three volumes. One volume 
containing his addresses was published in 1873. 
When the question of slavery became an issue, he 
came forward as an ardent abolitionist. <A collec- 
tion of poems printed in 1832 served to spread his 
fame both at home and abroad. A number of 
hymns written on various occasions thruout his life, 
were published in a private issue in 1865, under the 
title Hymns by W.C. Bryant. He wrote 25 hymns, 
of which the greater number are found in various 
hymnals of today. Bryant was a Unitarian. ‘His 
poetry, consisting mainly of short poems, is marked 
by warmth and beauty of expression, and bears the 
characteristics of a vigorous and sound peace- and 
liberty-loving spirit” (Adolph Hansen, Ph. D.). 
His complete works were published in four volumes 
in 1883-1884. Bryant died June 12, 1878. 


116 
Awake, Thou Spirit, who didst fire. 
Wach auf, du Geist der ersten Zeugen. 
—C. A. VON BOGATZKY. 
ap eats hymn was published in 1750, in the first 


edition of the author’s hymns, under the title 
Die Uebung der Gottseligkeit in allerley Geistlichen 


ay 


Liedern. The original of this hymn contained 14 
stanzas dedicated to ‘The faithful workers in the 
Lord’s vineyard for the blessed propagation of the 
Gospel thruout the entire world.” Our translation 
of stanzas 1-3 and 5-8 was made by Miss Wink- 


worth for her Lyra Germanica, 1855. ‘These have 


been somewhat changed in the version of our Lu- 
theran Hymnary. The melody (Adoro) was writ- 
ten in 1872 by Sir Joseph Barnby, an English church 
musician (b. 1838, d. 1896). He was the music 
editor for The Hymnary, published in England. 
Carl Heinrich von Bogatzky was born September 
7, 1690, on his father’s estate near Militsch, Silesia. 
His father was a member of the Hungarian nobility 
and served as lieutenant-colonel in the Austrian 
army. During his youth Carl was employed as a 
page at the court of the Duke of Weissenfels. 
Later he was sent to Breslau to be trained for mil- 
itary service. There he was stricken with serious 
illness, which turned his mind toward his God and 
awakened in him the consciousness that the Lord 
wanted him in His service. Count Heinrich XXIV 
of Reuss-K6striz offered to support him with funds 
for his university course. He began his studies at 
Jena in 1713 and continued at Halle in 1715. Be- 
fore Christmas he received a message that his 
mother had died and that he must come home at 
once. At a service in which he took part before 
leaving Halle, he gained, according to his own 
words, a clear understanding of the doctrine of jus- 
tification by faith. His father disowned him because 
he would not enter the army, and at Easter time, 
1716, he was enrolled as a student of theology at 
Halle. During his stay there he wrote ‘‘for his 


223 





edification”’ his well-known work The Golden Treas- 
ury. His health failed and he suffered from hoarse- 
ness, which prevented him from taking up work as 
a preacher. But he spoke at private gatherings and 
produced a series of religious pamphlets. Among 
the latter may be mentioned, Concerning True Con- 
version. He wrote in all 411 hymns, which were 
published in 1771 in the third edition of Die Uebung 
der Gottseligkeit, mentioned above. A new edition 
appeared in 1844. 

Bogatzky spent his last years at Halle. G. A. 
Francke gave him free sustenance at the orphanage. 
Years before Bogatzky had sold his property and 
donated the proceeds to the orphanage. He died in 
Halle, June 15, 1775. No. 710 in the American 
edition of Landstad’s Hymnal, “‘O Frelser, som er 
Lys og Livet,” was written by Bogatzky in 1725 
during his visit with Duke Henkel of Polzig, after 
having tried to find relief for his illness by taking 
treatments at the baths of Carlsbad. ‘This hymn 
was translated into Danish by an unknown author. 
It appeared in Pontoppidan’s Hymnal of 1740. 


EN Ly 
Jesus shall reign where’ er the sun. 


—Il. WATTS. 


ATTS’ Psalms of David, published 1719, con- 

tained this hymn, which makes up the second 
part of his metrical version of the 72nd Psalm. 
The original has eight stanzas. In later hymnals 
it has been considerably abbreviated. It came into 
general use during the 19th century. It has gained 
in favor and popularity as the missionary spirit has 


224. 


been aroused. It has been translated into many 
languages, even into Latin. This latter translation 
was furnished by R. Bingham, ‘‘Omnibus in terris, 
Dominus regnabit Jesus,” published in 1871. 

On Pentecost Day, 1863, many thousand Chris- 
tian natives of Tonga, Fiji, and Samoa islands gath- 
ered for divine services in the shade of their fig 
trees. he king of the Islands and his chiefs and 
warriors took a leading part. It must have stirred 
the souls of these Christians to hear the many thou- 
sand voices unite upon the occasion and sing for the 
first time as a Christian people, this glorious hymn, 
‘Jesus shall reign.” 

The melody (Duke Street) is the only melody 
ascribed to John Hatton of Warington and St. 
Helen’s (d. 1793). It was first published during 
the same year in Boyd’s Select Collection of Psalms 
and Hymn Tunes. Watton’s name is attached to 
this hymn only in later editions. 


118 


Through midnight gloom from Macedon. 
—S. J. STONE. 


AG a vision appeared to Paul in the night: 
There stood a man of Macedonia, and 
prayed him, saying, Come over into Macedonia, and 
help uss. (Acts: 16):9))). 

This hymn was written for “The first Day of In- 
tercession for Foreign Missions,’ 1871. (See notes 
under Nos. 78 and 97; author of the hymn, and com- 
poser of the melody.) 


225 


119 


Spread, O spread, thou mighty W ord. 
W alte, fiirder, nah und fern. 
(Walte, walte, nah und fern). 
—J. F. BAHNMAIER. 


ets hymn was first published in a special edi- 
tion in 1827. In 1828 it was entered in the 
collection, Kern des deutschen Liederschatzes, Nirn- 
berg. In 1833 it appeared with the first line, Walte, 
walte, nah und fern, published in Bunsen’s Versuch. 
It is considered one of the best missionary hymns 
of the Church. Our English rendering is by Miss 
Winkworth. It was published in Lyra Germanica, 
1858. It passed over into many Lutheran and 
other hymnals. (For notes on the melody, see 
No. 16.) 

Jonathan Friedrich Bahnmaier, son of the pastor, 
J. C. Bahnmaier, Wirttemberg, was born July 12, 
1774. He was educated at Tubingen, and in 1798 
became his father’s assistant. Later he served as 
deacon of Marbach on the Neckar, and moved in 
1810 to Ludwigsburg, where he superintended a 
school for young women. In 1815 he was appointed 
professor of education and homiletics at Tubingen, 
but soon after had to resign from this position. In 
1819 he became deacon and town preacher of Kirch- 
heim-unter-Teck, where he rendered faithful and 
able service for 21 years. 

Bahnmaier was an able preacher and intensely 
interested in the development of schools and mis- 
sions. He was a member of the hymnary committee 
which prepared the Waiirttemberg Gesangbuch, 


226 





1842. He delivered his last sermon in Kirchheim 
on the Tenth Sunday after Trinity, August 15, 
1841. Two days later he conducted visitation serv- 
ices in Owen, and, while visiting the school in a 
nearby village, he was stricken with heart failure 
and brought back to an where he died August 
18, 1841. 


120 
From Greenland’s icy mountains. 


—R. HEBER. 


(pas following may be of interest concerning 

the origin of this hymn. In 1819 the king sent 
an appeal to the ministers of the Church of England 
to call for a mission offering on Pentecost Day for 
The Society for the Propagation of the Gospel. 
Rev. R. Heber, pastor of Hodnet, went to Wrex- 
ham to visit his father-in-law, Dr. Shirley, dean of 
St. Asaph and vicar of Wrexham. Heber was to 
speak in Shirley’s church in Wrexham in the evening 
of Pentecost Day. On Saturday, Pentecost Eve, © 
Heber was requested to write a hymn which could 
be sung at the services the following day. Heber 
sat down to fulfil this request, and had written three 
stanzas of ‘“From Greenland’s icy mountains” when 
Dr. Shirley came and asked to hear what he had 
written. Heber read the stanzas. Shirley was 
pleased with the poem and wanted to take the manu- 
script to have copies prepared, but Heber begged 
permission to add another stanza. ‘Thus the grand 
finale was added, ‘‘Waft, waft, ye winds, His story.” 
The famous missionary hymn was printed, and the 
next day it was sung in the Wrexham church for the 
first time. ‘The hymn was printed in the July issue 


227 


of The Evangelical Magazine, 1821. In 1822 a 
correspondent sent Heber’s hymn to The Christian 
Observer as evidence of the author’s exceptionally 
poetic ability. This was in connection with a re- 
port of Heber’s election as bishop of Calcutta. The 
article, however, together with Heber’s hymn, was 
printed in The Observer for February, 1823. He 
was ordained bishop in June of the same year. 

This hymn was published in Heber’s Works, 
1842, and has since been given a place in all the 
leading hymnals of the English speaking world. It 
has been translated into many languages. Dr. C. 
G. Barth rendered a German translation, which was 
published in Geistliche Gedichte, Stuttgart, 1836. 
There is a Latin translation by Arundines Cami. 
A Norwegian version was included in the American 
edition of Landstad’s Hymnal (No. 715). This 
version is also found in Gustav Jensen’s Forslag til 
ny Salmebok for den Norske Kirke. 

The melody (Missionary Hymn), written by the 
well known American church musician, Dr. Lowell 
Mason (b. 1792, d. 1872), is one of the very few 
American melodies found in the leading English 
hymnals. 


121 
Hark! the voice of Jesus crying. 
—D. Marcu. 


| Peery missionary hymn was written by the Rev. 
Daniel March, who was born in America, July 
21, 1816. He was a member of the Congregational 
Church. A number of his hymns have been included 
in various hymnaries. He published several works, 


228 


among which the best known is Night Scenes in the 
Bible. 

The melody (Deerhurst) was composed in 1859 
for the hymn, ‘‘Lord, dismiss us with Thy blessing.” 
James Langran, the composer (1835-1909), was 
the organist of St. Paul’s Church in Tottenham. 
He wrote many hymn_.tunes, besides a considerable 
quantity of other forms of church music. 


122 
O God of God, O Light of light. 
—J. JULIAN. 


eae hymn was written for John Goss’ melody 
(Peterborough), published in Mercer’s Church 
Psalter and Hymn Book for the music festival of 
the Shefeld Choirs, April 16, 1883. It was printed 
in the festival pamphlet. In 1884 it was included in 
Horder’s Congregational Hymns and later in other 
hymnals. 


123 
Thou, whose almighty Word. 
—J. MaArriorr. 


Ne God said, Let there be light, and there 
was oht! (Gens i143). 

Marriott’s hymn was written in 1813. It was 
read by Thomas Mortimer, lecturer of St. Olave’s, 
Southwark, at a meeting of the London Missionary 
Society, May 12, 1825. ‘Together with Mortimer’s 
address it was published in the June issue of The 
Evangelical Magazine for that year. It was printed 
also in The Friendly Visitor for July, 1825. In 
1866 it was included in Lord Selborn’s Book of 


229 


Praise. The Lyra Britannica took it up in 1867, 
and since it has been given a place in many hymnals 
wherever the English language is used. (For notes 
on the melody, see No. 73.) 

John Marriott, son of Rev. R. Marriott, rector 
of Cottesbach, England, was born in 1780. He first 
attended school at Rugby and continued his studies 
at Christ Church College, Oxford, where he won 
a prize in one of the contests. Having completed 
his studies at Oxford, he served for a time as private 
tutor and house chaplain for the Duke of Buccleuch. 
Later, on the recommendation of the duke, he be- 
came rector of Church Lawford of Warwickshire. 
He remained in this position until his death. On 
account of his wife’s ill health, however, he had to 
change his place of residence to Devonshire. From 
that place he served the congregations at Exeter 
and Broadclyst. He died March 31, 1825. 

Marriott published a volume of sermons in 1818. 
Another volume of his sermons was published by 
his sons in 1838. He did not publish any of his 
hymns. Some were printed while he lived, but 
without his permission. Marriott was an intimate 
friend of Sir Walter Scott, who dedicated some of 
his works to Marriott, in memory of their friend- 
ship. 

124 


Arise, O God, and shine. 
—W. Horn. 
|e a hymn, ‘‘Rise, gracious God, and shine,” 
was published in the first edition of his Psalms 
and Hymns. In the Salisbury Hymn Book, which 
appeared in 1857, the first line is changed to read, 


230 


‘Arise, O God, and shine.” The melody (Water- 
stock) was composed by John Goss (1800-1880). 
Sir John Goss studied music under Thomas Attwood 
and became his successor as organist of St. Paul’s 
Cathedral, London, 1856-1872. Goss became a 
prominent church composer, editor of the Parochial 
Psalmodie, 1826, and music editor for Mercer’s 
Church Psalter and Hymn Book, 1854. 

William Hurn was born December 21, 1754, at 
Breccles Hall, Norfolk, England. He received a 
good classical education, and while yet a young man 
was called as teacher at the Free Grammar School 
of Dedham, Essex. In 1879 he entered the army, 
but the following year he was ordained to the min- 
istry by Bishop Young of Norwich. He served as 
assistant in several places until 1790, when he was 
appointed vicar of Debenham. He resigned in 
1822, and the following year was called to become 
the pastor of the Congregational church of Wood- 
bridge, where he remained until his death, in 1829. 
Hurn’s Psalms and Hymns were published in 1813. 
Of the 417 hymns in this collection, 264 are by 
Hurn. An enlarged edition was printed in 1824. 
This contains 420 of his original hymns. 


125 
O Spirit of the living God. 
—J. MONTGOMERY. 
Viger eae wrote this hymn in 1823, and 
in the same year it was printed in pamphlet 
form for use at a meeting of The Auxiliary Mission 
Society for the West Riding of Yorkshire. The 
meeting was held in Salem Chapel, Leeds, on the 


aon 


4th of June, 1823. The same year it was also 
printed in the August issue of The Evangelical 
Magazine. After having been thoroly revised by 
the author, the hymn was published in his Christian 
Psalmist, 1825, under the title, The Spirit Accom- 
panying the Word of God. It is a very popular 
missionary hymn thruout all English speaking coun- 
tries. [he melody was first published in the Nirn- 
berg Gesangbuch, 1676, where it occurs as the mel- 
ody of M. Behm’s hymn, ‘“‘O Jesu Christ, meins Le- 
bens Licht.” 


126 


Unchanging God, hear from eternal heavens. 
—S. J. STONE. 


F OR the gifts and the calling of God are with- 
Dut repentances CKomi) 11/29): 

This hymn was written in 1885 for the East Lon- 
don Jewish Mission. It was printed in Stone’s 
Hymns, 1886. The original contained eight stanzas. 
The fifth and sixth are omitted in the edition of our 
Lutheran Hymnary. ‘The melody (Eventide) was 
composed by W. H. Monk for H. F. Lyte’s hymn, 
“Abide with me! fast falls the eventide” (L. ‘H. 
552). In Hymns Ancient and Modern it is stated 
that this melody was composed by Monk in 1861, 
following a committee meeting of the editorial staff, 
which prepared the above mentioned hymnal. Stone 
was a member of this committee. The Musical Times 
for 1908 makes the statement that Stone composed 
this melody in 10 minutes, while giving a lesson on 
the piano. (This sounds more like fiction.) The 
composer’s wife relates that this melody was com- 
posed during a time of deep sorrow. It was writ- 


Pays 


ten in her presence after they had viewed a glorious 
sunset. It is, therefore, reasonable to suppose that 
Monk, after the above mentioned committee meet- 
ing, revised the melody for the original edition of 
Hymns Ancient and Modern, where the melody first 
appeared in 1861. It is Monk’s finest hymn tune 
and is known among Christians in all lands. 


127 
Lord, Thine ancient people see. 
—E. HARLAND. 


eae hymn for Jewish missions was printed in 
Harland’s Church Psalter, published in 1855. 
(For notes on the melody, see No. 63.) 

Edward Harland was born 1810, in Ashbourne, 
Derby, England. He was educated at Wadham 
Collere:, Oxford,( B.A. 183 Ts) Mi Al 1833 ee 
served as curate of Newborough, 1833-1836; of 
Sandon, 1836-1851; vicar of Colwich, 1851, and 
prebendary in Lichfield Cathedral, 1873. His 
Church Psalter was published in 1855. This con- 
tained 209 hymns. Enlarged editions appeared in 
1863 and 1865. In 1876 he published a revised 
edition with a supplement. This edition contained 
in all 584 hymns, of which number 27 were written 
by Harland. He died June 8, 1890, in Bishton 
Hall, Colwich. 


233 


128 
Eternal Son of God, O Thou. 


Christe cunctorum dominator alme. 
—FROM THE LATIN. 


Du, dem der Himmel und die Erd’ sich beuget. 
(To be sung at church dedications. ) 


HE author of this hymn is unknown. ‘The 

hymn is found is a Vatican manuscript from the 
eighth century, also in a ninth century manuscript in 
the library of Bern. It appears in three manuscripts 
and in one breviary from the eleventh century, kept 
in the British Museum. The hymn was translated 
into German by J. Rambach, and his version was 
again rendered into English by an unknown hand. 
The English version appeared first in The Evan- 
gelical Lutheran Hymnal, Columbus, Ohio, 1880. 
(For notes on the melody, see No. 36.) 


129—130 


Christ is made the sure foundation. 
Christ is our cornerstone. 
Urbs beata Hierusalem, dicta pacis visio. 
—FROM THE LATIN. 


Oph elty this hymn had nine stanzas. It 
dates from the sixth or the seventh century. 
The Scriptural basis is as follows: I Pet. 2-5; Rev. 
12; and Eph. 2:10. The author is unknown. The 
hymn is found in three manuscripts from the eleventh 
century, kept in the British Museum. Another manv- 
script dating from the same era is at St. Gall. The 
hymnologist, G. M. Dreves, published this hymn 


254 


from a tenth century copy. It has also been treated 
in the works of Mone, Wackernagel, and many 
others. 

This precious and popular hymn had a place in 
a large number of breviaries in the Middle Ages. 
It was ordered for use at church dedications and the 
like. In places it is given complete, but very often 
it is divided into two sections, so that the last five 
stanzas make up a separate hymn, beginning: ‘‘An- 
gulare fundamentum lapis missus Christus est.” Out 
of this last section have been formed the two above 
mentioned hymns: No. 129 by J. M. Neale, and 
No. 130 by J. Chandler. Various versions based on 
the first four stanzas are found in some English 
hymnals. “The one most commonly used is by Neale, 
‘Blessed city, heavenly Salem, Vision dear of peace 
and love.” Hymns based on the second section, 
however, are much more numerous. Opinion is 
divided as to whether the sixth and seventh stanzas 
of the original are of the same age as the rest of 
the hymn. ‘These stanzas have therefore often been 
printed separately. The original text has, no doubt, 
undergone many changes. Many centos have arisen 
due to various methods of grouping and treating the 
stanzas of this hymn. | 


235 


131 


Come Thou now, and be among us. 
O beata Hierusalem, praedicandi civitas. 
(For church dedications). 
—FROM THE LATIN. 


[eS from the eleventh century, the manu- 
script copy of this hymn was published by 
Neale in Hymnae Ecclesiae, and also in a collection 
by Daniel. Neale’s translation beginning, ‘‘Blessed 
city, Heavenly Salem, Land of glory, land of rest,”’ 
was published in 1871. In The Lutheran Hymnary 
this hymn begins with the third stanza of the Latin 
original. Several hymnologists hold that the Latin 
original for this hymn is ‘‘Urbs beata Hierusalem,”’ 
treated under Nos. 129 and 130. 


132 


Built on the Rock the Church doth stand. 
Kirken den er et gammelt Hus.—Landst. 589. 
—N. F. S. GRUNDTVIG. 


W HEN Grundtvig prepared his Sangverk til 
den Danske Kirke, 1837, this famous hymn 
appeared in its first form. Later on, the author 
abbreviated and revised it. he melody, by L. M. 
Lindeman, was written specially for this hymn and 
was first published in W. 4d. Wexel’s Christelige 
Psalmer, 1840. This melody and others by Linde- 
man were extensively used in Denmark before their 
introduction in Norway. The story is told of a 
Norwegian who heard this melody sung in one of 
the churches of Copenhagen. Upon inquiring for 
the author of the melody, his Danish friend an- 


236 


swered: “Do you not know this melody? It is com- 
posed by your own organist, Lindeman, of Christi- 
ania.”’ It was Lindeman’s first church melody, and, 
like Grundtvig’s hymn, is one of the finest produced 
in the North. (For notes on Grundtvig, see No. 49.) 

Ludvig Mathias Lindeman was born November 
28, 1812, in Trondhjem. His first music teacher 
was his father, Ole Andreas Lindeman, organist at 
Our Lady’s Church of that city. Having taken 
eksamen artium and commenced his theological 
studies, he was appointed to the position of organist 
in Our Savior’s Church, Christiania. In this work 
he continued until his death, May 23, 1887. From 
1849 and on he also served as professor at the 
theological seminary. In 1871 he published Koral- 
bog for den norske kirke. Thru this work as well 
as thru all his work in general, Lindeman con- 
tributed greatly to the cause of good church song 
among the Norwegian people. It was stated at his 
funeral that he was the person who had taught the 
Norwegian people to sing. He certainly gave im- 
petus to congregational singing thru his many and 
varied choral melodies. His melodies are to a 
large degree original. Some have been recast from 
older tunes. Lindeman’s hymn tunes breathe a 
spirit of deep religious fervor, refreshing vigor, and 
partake of the character of the folk-tune. The lat- 
ter explains to some extent their popularity (Bishop 
Dr. A. Chr. Bang). Lindeman’s life and work will 
be treated more fully in a later section. 


2331 


133 


Here, in Thy name, eternal God. 
—J. MonrTcomeEry. 


5] Dh ea stone to Thee in faith we lay” (for 
the laying of the cornerstone of a new 
church). This was originally the first line of the 
hymn, as it was written in 1822, for the laying of 
the cornerstone of Christ Church, Attercliffe, Shef- 
field. It was sung on that occasion October 30, 
1822, and printed in November of the same year, in 
Montgomery’s paper, The Sheffield Iris, together 
with a report of the festivities in Christ Church. 
It was also published in the author’s Christian 
Psalmist, 1825, and in later works. ‘The hymn is 
quite extensively used both in its complete and in 
its shortened form. ‘The present version with the 
first line, ‘‘Here in Thy name,” appeared first in 
Hatfield’s Church Hymnal, published in New York 
uty, L872. 

The melody (Vom Himmel hoch, or Erfurt) was 
first printed in Valten Schumann’s Geistliche Lieder 
auffs neu gebessert, Leipzig, 1539. It was there 
used as a setting for Luther’s Christmas hymn, 
“Vom Himmel hoch, da komm ich her” (L. H. 181). 
It is one of the most popular Lutheran melodies. 
J. S. Bach published it in several arrangements in 
his Choralgesdnge. His best known arrangement 
is that found in his Christmas Oratorio. It is found 
in a large number of English hymnals and is also 
extensively used in Norway, Sweden, Denmark, Fin- 


land, and Iceland. 


238 


134 


O Word of God incarnate. 
—W. W. How. 


Bee printed in the Supplement to Morell and 
How’s Psalms and Hymns, 1867, ‘“O Word of 
God incarnate” has been given a place in numerous 
hymnaries in England and America. It is one of 
How’s best hymns. The melody (Munich) was 
first published in Meiningisches Gesangbuch, 1693; 
later in J. G. Stérl’s Choralbuch, 1710. Mendels- 
sohn made use of this melody in the oratorio Elijah. 
The melody for ““O Gud, du fromme Gud,” “Ach 
Gott, verlass mich nicht,” “©O God, Thou faithful 
God” (L. H. 457), is a variant of this melody (No. 
134). Johann Georg Christian Storl (1676-1743) 
Was concertmaster and court organist for the duke 
of Wurttemberg. He wrote a great amount of 
church music and many motets and hymn tunes. 
William Walsham How, born Dec. 13, 1823, 
in Shrewsbury, England, was educated at Wadham 
College, Oxford (B. A., 1845). He was ordained 
to the ministry in the Episcopal Church in 1846 and 
served as curate of St. Georges, Kidderminster, and 
Holy Cross, Shrewsbury. In 1851 he became rector 
of Wittington; 1879 rector of St. Andrews, Under- 
shaft, and ordained assistant bishop for East Lon- 
don. In 1888 he was made bishop of Wakefield. 
He died in 1897. He wrote Commentaries on the 
Four Gospels; Plain Words for Children; Lectures 
on Pastoral Work; Sermon Collections; Three All 
Saints Summers and Other Poems. Besides these 
works he wrote between fifty and sixty hymns, which 
were published in Psalms and Hymns, 1854.  A\l- 


239 


most all of these are in common use. His hymns 
are marked by exceptional rhythm and melody and 
are filled with deeply religious sentiment. They 
are simple and Scriptural—popular—in a good 
sense. Many of his best hymns are found in The 
Lutheran Hymnary. 


135 
Father of mercies, in Thy Word. 
—ANNE STEELE. 


Hew sweet are Thy Words unto my taste; 
yea, sweeter than honey to my mouth” 
(Psalm 119:103). 

This hymn was first published in Poems on Sub- 
jects Chiefly Devotional, 1769, and in the enlarged 
edition of 1780. Originally it contained twelve 
stanzas. The six-stanza version appeared first in 
the Bristol Baptist Collection, 1769. It is one of 
Anne Steele’s best hymns and is very popular in 
England and America. ‘The statutes of the Lord 
are right, rejoicing the heart: the commandment of 
God is pure, enlightening the eyes’ (Psalm 19:8). 
(For notes on the melody, see No. 111.) 

Anne Steele, born 1716, was the daughter of 
William Steele, a lumber merchant, who served 
without pay as Baptist minister of Broughton, 
Hampshire, England. Anne Steele was a talented 
writer and began writing poems at an early age. 
But she would not permit any of her poems to be 
published until 1757. On the 29th of November 
of that year her father entered the following in his 
diary: ‘‘Today Nanny sent part of her composi- 
tions to London to be printed. I entreat a gracious 


240 


God, who enabled and stirred her up to such work; 
to direct it and bless it for the good of many. . . 
I pray God to make it useful, and keep her humble.”’ 
Her Poems on Subjects Chiefly Devotional, by The- 
odosia, were published in 1760. Miss Steele was 
injured in childhood and lived the rest of her life 
as an invalid. She also suffered much from nervous- 
ness, and confinement to her room, and was often 
helpless in her bed. Her lover was drowned while 
bathing, not long before the day fixed for their wed- 
ding. But she bore it all patiently and did not waver 
in her Christian trust. After her death a new edi- 
tion of her Poems, together with a third volume, was 
published by Rev. Dr. Caleb Evans (Bristol, 1780), 
who wrote a preface to the work. In these three 
volumes there are 144 hymns, 34 versifications of 
Psalms, and 30 other poems. Sixty-two of her 
hymns were given place in the Bristol Baptist Col- 
lection of 1769. In this volume her hymns are 
distinguished by the letter ‘““T”’ for ‘Theodosia.” 
After that period Miss Steele’s hymns have been 
found in all leading English hymnals. No other 
hymn writer of the Baptist Church has ever writ- 
ten hymns that rank with hers. Her hymns are in 
more extensive use among other denominations than 
those of any other Baptist writer. Her hymns are 
marked by simplicity of expression, deep piety, evan- 
gelical spirit, and they breathe an intense love for 
the Lord Jesus Christ. She prefers to sing of the 
suffering Savior, and many have criticised the some- 
what melancholy and affectionate tone which is 
characteristic of many of her hymns. There is, 
indeed, not very much variety in her poetry. Anne 
Steele died in November, 1778. Among her last 


241 


words upon her deathbed was, “I know that my 
Redeemer liveth.” 


136 
Thy Word, O Lord, like gentle dews. 
Dit Ord, o Gud, som Duggen kveger. 
—Landst., Am. Ed., 635. 


Dein Wort, o Herr, ist milder Thau. 
—C. B. GARVE. 


WILL be as the dew unto Israel; he shall 
grow as the lily, and cast forth his roots as 
Lebanon” (Hosea 14:5). 

“For the Word of God is quick, and powerful, 
and sharper than any twoedged sword, piercing even 
to the dividing asunder of soul and spirit, and of 
the joints and marrow, and is a discerner of the 
thoughts and intents of the heart’? (Hebr. 4:12; 
also. Matt, 2:2). 

“Thy Word is a lamp unto my feet, and a light 
unto my path” (Ps. 119:105). 

‘The Lord is my light and my salvation” (Ps. 
eck) 

The original version appeared first in Garve’s 
Christliche Gesadnge, Gorlitz, 1825 (seven stanzas). 
It was given a place in Geistlicher Lieder-Schaiz, 
Berlin, 1863; also in Hymn Books for Hannover 
and Saxony, 1883, and others. It is one of Garve’s 
best and most popular hymns. Miss Winkworth 
translated the first three stanzas for her Lyra Ger- 
manica, 1855. ‘The Norwegian translation is by 
Casper Johannes Boye, born December 27, 1791, 
Kongsberg, and died as chaplain of the garrison at 


ae 


Copenhagen, July 6, 1853. The composer of the 
melody is not known. 

Carl Bernhard Garve was born January 24, 1763, 
in Jeinsen, near Hannover, where his father was a 
farmer. He was educated in the schools of the 
Moravian Brethren at Zeist, Neuwied, Niesky, and 
at the Seminary of Barby. In 1784 he was ap- 
pointed teacher at the padagogium of Niesky, and 
five years later at the institution at Barby. Later 
he was ordained and served as minister in congre- 
gations of the Moravian Brethren—from 1799 in 
Amsterdam, from 1801 in Ebersdorf, in Berlin, 
1809, and in Neusalz an der Oder from 1816. In 
1836 he retired from the ministry and spent the 
last years of his life in Herrnhut, where he died 
June 21, 1841. 

Garve was one of the most prominent hymn 
writers among the Moravian Brethren. All his 
hymns are aglow with intense love for the Savior. 
They are Scriptural and are characterized by beauty 
of expression. Many of his hymns are extensively 
used in the Lutheran Church. ‘Thirty-six were in- 
cluded in the Berlin Hymnary of 1829. Most of 
Garve’s hymns were published in his Christliche Ge- 
sange, Gorlitz, 1825, containing 303 hymns; and 
in Briidergesdnge, 1827, with 65 hymns, especially 
intended for the Moravian Church. 


243 


137 


God’s Word is our great heritage. 
Guds Ord det er vort Arvegods.—Landst. 44. 
—N. F. $8. GRUNDTVIG. 


[* the collection of hymns, Salmer ved Jubel- 
festen, 1817, Grundtvig also published his “free 
Danish version” of Luther’s ‘Ein’ feste Burg ist 
unser Gott” (A mighty fortress is our God), 
which contained four stanzas. Grundtvig added a 
fifth stanza of his own. This present stanza has, in 
later Norwegian and Danish hymnals, been given 
a place as a separate hymn. It is used as the clos- 
ing hymn of the service and at church festivals. 
(For notes on Grundtvig see No. 49.) The Eng- 
lish version in The Lutheran Hymnary is by O. G. 
Belsheim, 1909. 


God’s Word is our great heritage, 
And shall be ours forever; 

To spread its light from age to age 
Shall be our chief endeavor; 
Through life it guides our way, 
In death it is our stay; 

Lord, grant, while worlds endure, 
We keep its teachings pure, 
Throughout all generations. 


138 


Lord, keep us steadfast in Thy Word. 
Hold oppe, Gud, hos os dit Ord.—Landst. 29. 
—M.,. LUTHER, 


244 


Erhalt uns, Herr, bei deinem wort, 
Und steur des papsts und tirken mord, 
Die Jesum Christum deinen Son 

WW ollten stiirzen von deinem tron. 


Beweis dein macht, Herr Jesu Christ, 
Der du herr aller herren bist: 
Beschirm dein arme Christenheit, 
Dass sie dich lob in ewigkett. 


Gott heilger Geist, du troster wert, 
Gib deinem volk einrlei sinn auf erd, 
Steh bei uns in der letzten not, 

Gleit uns ins leben aus dem tod. 


pies hymn is found in a manuscript from 1530, 
the so-called Luther Codex, published by O. 
Kade, 1871, Dresden, under the title: Der neuge- 
fundene Luther Codex vom Jahn 1530. ‘The hymn 
was printed in Wittenberg, 1541 or 1542 in pam- 
phlet form. It was included in the Magdeburg Ge- 
sangbuch of 1542 and in Klug’s Geistliche Lieder, 
published in 1543. In the latter it bears the fol- 
lowing title: 4 Song for Children, against the 
pope and the Turk, the two arch-enemies of Christ 
and His Church. 

Some have advanced the claim that Luther wrote 
this hymn in 1541, when Admonition to Prayer 
against the Turks appeared, containing many ex- 
pressions found in the hymn. But it was chiefly 
during the years 1522-1529 that the Turks threat- 
ened Germany. ‘The Sultan, Suleiman IJ, who 
ascended the throne in 1520, subdued a part of 
Hungary and conquered Rhodes in 1522. The 
Turkish hordes swept over the boundaries of Aus- 


245 


tria and laid the country waste to such an extent 
that it was said the grass did not grow where the 
Turks had passed. In 1529 they besieged Vienna 
and planted their standards outside the city walls. 
During that same year the pope made a determined 
effort to destroy the work of the Lutheran Reforma- 
tion. There are, therefore, good reasons for as- 
suming that Luther, at this time, 1528-1529, wrote 
the two hymns, “‘A mighty fortress is our God,” 
and this hymn (kinderlied) against these two dan- 
gerous opponents of the Reformation. ‘“‘Anti- 
Christ,” says Luther in one of his Table Talks, 
‘is the pope and the Turk. ‘The living beast must 
have both soul and body. The spirit, or the soul, 
of anti-Christ, is the pope; the flesh, or the body, 
is the Turk. The latter attacks and tries to destroy 
the Church of God, bodily. The pope tries to do 
this spiritually, but also in a bodily sense, by hang- 
ing, burning, and murdering the witnesses of the 
Lord.” 

In 1529, however, the Turks suffered their first 
serious defeat, their advance was halted, and after 
suffering great losses they withdrew from Vienna. 
Turkish bands continued yet for many years to 
plunder the German border states, so that they still 
for some time had to be reckoned with as a source 
of grave danger. Thus we find that even as late 
as 1565, in England, there was included in the gen- 
eral church prayer also a petition for the Christians 
harassed by the Turks. In a document of 1548 
there is a recommendation to the effect that the 
words in Luther’s hymn concerning the outrages of 
the pope and the Turk be changed to “‘Satan’s wiles 
and might.” 


246 


It was natural that Luther’s hymn should arouse 
great indignation among the Catholics. In the dis- 
tricts under Catholic control, this hymn was strictly 
prohibited, in some places even the death penalty 
was ordered. On May 10, 1631, General Tilly 
entered Magdeburg and massacred the inhabitants. 
The streets were literally covered with the dead and 
dying. A group of school children, singing Luther’s 
hymn, came marching across the marketplace. They 
were promptly cut down and cast into the fire by 
Tilly’s soldiers. It has been said that Tilly later 
repented of this deed, and that success did not 
attend his campaign after the day of this massacre. 
The fall of Magdeburg was celebrated by the pope 
with great festivities. 

The many later additions to this hymn show that 
it gave fitting expression to the desires and longings 
of evangelical Christianity. Iwo stanzas were added 
by Justus Jonas. Several others have also written 
additional stanzas to it. As mentioned above, a 
document of 1548 suggested a change in the text 
referring to the pope and the Turk. This change 
was not put thru, however, before Freylinghausen’s 
Geistreiches Gesangbuch appeared, in 1714. ‘The 
Danish-Norwegian hymnals of Thomissgn, Kingo, 
and Pontoppidan follow the form of the original 
together with the stanzas added by Justus Jonas. 
Landstad revised the first stanza for his hymn book. 
Our English version of Luther’s original is by Miss 
Winkworth, 1863. ‘Che hymn was first translated 
into English by R. Wisdome and appeared in Daye’s 
Psalter, 1560, ‘“‘Preserve us, Lorde, by hy deare 
Worde.” This has one added stanza. ‘There are 


at least fourteen English versions of this hymn. 


247 


The melody appeared first in Babst’s Geistliche 
Lieder, 1543, a free rendering of the melody for the 
ancient Latin hymn, ‘‘Veni, Redemptor gentium”’ 
(Kom, du Folkefrelser sand, Come, Thou Savior 
of our race, L. H. 186). ‘This hymn and its melody 
have in England received the name, The Pope and 
Turk Hymn and Tune. 


139 


Lamp of our feet, whereby we trace. 
—B. BARTON. 


| Oe published in Barton’s Devotional Verses, 
founded on Select Texts of Scripture, 1826. It 
is the best known of the ‘‘Quaker Poet's” hymns. 

Bernard Barton was born in London January 
31, 1784, and was educated in a Quaker school at 
Ipswich. ‘Together with his brother he was en- 
gaged in business for four years. After the death 
of his wife he served for a while as private tutor 
in Liverpool. Later he was for forty years con- 
nected with a banking institution in Woodbridge, 
Suffolk, where he died February 19th, 1849. Bar- 
ton wrote a large number of poems: Metrical Ef- 
fusions, 1812; Poems by an Amateur, 1818; Poems, 
1820; Napoleon and Other Poems, 1822; Poetic 
Vigils, 1824; Devotional Verses, mentioned above; 
A Widow's Tale, 1827; New Year's Eve, 1829; 
The Reliquary, 1836; Household Verses, 1845, 
and many others. Among these poems have been 
found about 20 hymns which have been given a place 
in various hymnals, especially in the Evangelical 
Union Hymnal and in the Unitarian Hymnals in 
America. The ‘Quaker Poet” won the friendship 
of Lord Byron. 


248 


140 


Lord, Thy Word abideth. 
—Sir H. W. Baker. 


| Bans Word is a lamp unto my feet, and a 

light unto my path”? (Psalm 119:105). This 
hymn is found in the cellection, Hymus Ancient and 
Modern, 1861. It is in common use in all English 
speaking countries and has been translated into 
many languages. (Notes on H. W. Baker may be 
found under No. 17.) 

The melody (Ave Maris Stella) from Cantica 
Sacra, Miinchen, 1840, was used for the Latin hymn, 
“Ave Maris Stella.” There are several variants 
of this melody. 


141 


He that believes and is baptized. 
Enhver som tror og bliver dgbt.—Landst. 34. 
—Tu. KINco. 


H E, that believeth and is baptized shall be 
saved: but he that believeth not shall be 
damned” (Mark 16:16). 

‘For as many of you as have been baptized into 
Christ have put on Christ” (Gal. 3:27). 

“The Lord shall count, when He writeth up the 
people, that this man was born there’ (Psalm 
Sheen, 

These Scripture passages furnish the basis for 
this hymn. The hymn was first printed in Kingo’s 
Hymnal Outline, 1689, and was entered as a bap- 
tismal hymn in his official Church Hymnal of 1699. 
It was given a place in Guldberg’s Hymnary in 1778. 


249 


The melody is said to have been used as a Ger- 
man folk-tune before the Reformation. It was 
printed for the first time in 1524, both in Walther’s 
Hymnal and in the so-called Achtliederbuch, in the 
Mixo-Lydian mode. It is there used as a setting 
for Paul Sperati’s hymn, “E's ist das Heil uns kom- 
men her’’ (Guds sgn er kommen til os ned, Landst. 
190). In Kingo’s Hymnal, and later, the melody 
is transposed to the major mode. 


142 


Abide among us, we implore Thee. 
O, lad din Aand nu med os vere.—Landst. 39. 
—N. F. S. GRUNDTVIG. 


5 SNA Lord, delightest Thy saints to own,” 
a baptismal hymn written by James Allen, 
was printed in The Kendal Hymnbook, 1757, and 
a revised version was published in Thomas Beck’s 
Hymns, 1782. A second revision appeared in Ed- 
ward Bickersteth’s Christian Psalmody, 1833. This 
latter begins with the second stanza of the original, 
“Tesus, we lift our souls to Thee,” and concludes 
with a stanza added by Wesley. In this book 
Thomas Beck (1755-1844), preacher in London 
and Deptford, is mentioned as the author. The 
version, as printed in Bickersteth’s book, gave 
Grundtvig the text for his baptismal hymn, “O, lad 
din Aand nu med os vere,” which might rather be 
called an original hymn than a translation. And 
thru Rev. C. Ddving’s English rendering of Grundt- 
vig‘s version,-Allen’s much-edited and revised hymn 
has been given back with thanks to the English- 
singing church. Dr. Theol. E. Kr. Johnsen called 


250 


Grundtvig’s version “the most beautiful baptismal 
hymn ever written.”’ (Notes on N. F. S. Grundtvig 
may be found under No. 49.) The melody, by 
L. M. Lindeman (139), was composed for this 
hymn. 

James Allen was born in Gayle, Yorkshire, Eng- 
land, 1734. Intending to become a minister, he 
took some private instruction and then studied one 
year at St. John’s College, Cambridge. He built a 
chapel on his estate in Gayle, and there he served as 
pastor until his death, in 1804. He wrote several 
hymns, 

143 
O Father, Thou who hast created all. 


O Vaterherz, das Erd’ und Himmel schuf. 
—A. KNappP. 


apie baptismal hymn appeared first in the 
author’s Christenlieder, 1841. ‘The hymn is a 
penitent and sincere prayer for the child, ad- 
dressed to God, the Creator and Father, first 
stanza; to God, the Savior and Redeemer, second 
stanza; to God, the Holy Ghost and Sanctifier, 
third stanza; and the closing stanzas contain a 
prayer to the Holy Trinity to guide and bless the 
child thruout life. The translation in Lyra Ger- 
manica, 1858, by Miss Winkworth, is somewhat 
changed. ‘The hymn in its present form was first 
printed in Hymns Ancient and Modern, 1861. 
Albert Knapp was born July 25, 1798, in Tu- 
bingen, where his father was an attorney. In the 
fall of 1814 he took up his studies at the theological 
seminary of Maulbronn. In 1816 he continued his 
studies at the theological college of ‘Tiibingen, 


25 





where he received the master’s degree at the uni- 
versity. He became assistant pastor in Feuerbach, 
near Stuttgart, 1820, and the following year in 
Gaisburg. In 1825 he was appointed deacon in 
Sulz an der Neckar, and pastor of Holzhausen; 
in 1831 archdeacon of Kirchheim-unter-Teck; in 
1836 deacon of the Hospital Church of Stuttgart 
and, the following year, deacon of the stiftskirche. 
Finally, in 1845, the was called as city pastor (stadt- 
pfarrer) of St. Leonard’s Church of Stuttgart. 
‘Here he served until his death, June 18, 1864. He 
preached his last sermon February 13, 1863. Dur- 
ing the latter part of his life, he was not able to 
perform his duties as preacher and pastor on ac- 
count of an attack of paralysis. Knapp’s lyric 
poems reveal a vivid imagination and a marked 
sense of rhythm and euphony. His hymns are force- 
ful, well-written, Biblical, and show considerable 
poetic ability, as well as rich Christian experience. 
He sings fervently of the grace of God and His 
love, and draws in rich measure from the fountains 
of Holy Scripture. James Mearns expresses his 
surprise over the fact that Lyra Germanica, which 
contains so many of Spitta’s hymns, has not one 
single hymn by Knapp, whom he ranks higher as 
a poet. He considers Knapp as the most important 
of the later German hymn writers. Rudelbach does 
not rank him very high as a poet and criticizes 
severely his version of several older hymns. 
Knapp’s hymns were published in his Christo- 
terpe, a year-book containing poems and hymns by 
himself and others. This appeared from 1833 to 
1853. His hymns were also published in Evange- 
lischer Lieder-Schatz, 1837. ‘This was a monu- 


San 


mental work in two volumes, containing 3,590 
hymns. A supplement printed in 1841 contained 
250 hymns. Of this great work a revised edition 
appeared in 1850. Knapp published Christliche 
Gedichte, Basel, 1829; Neuere Gedichte, Basel, 
1834; Gedichte, neueste Folge, Stuttgart, 1843, and 
Herbstbliithen, Stuttgart, 1859. He also assisted in 
preparing the Wiirttemberg Hymnal in 1842. After 
Knapp’s death a third edition of the Lieder-Schatz 
was published by his son. About twenty-five of 
Knapp’s hymns have been translated into English. 
Concerning his editing of the older hymns, Rudel- 
bach has the following to say: ‘“‘When Knapp be- 
gan his editing of these hymns, in 1832, I conferred 
with him, and begged him that, for the sake of the 
old witnesses, he would not carry the changes 
farther than, for instance, a person brushing the 
dust off from the wings of the butterfly. He, how- 
ever, proceeded further, along the path he had 
chosen, and demanded the privilege of changing 
whatever he saw fit to revise. On account of de- 
termined opposition to this practice on his part, 
he became more and more bitter. . . . He is the 
most prolific ‘hymn revisor’ of modern times. To 
him the form of the hymns did not count for more 
than the form of the collars worn during the six- 
teenth and seventeenth centuries, which no one 
would hold as necessary to individuality; nothing 
more than ‘the rust spots on a good sword’; the high- 
est law unto him was the reasonable requirements 
of the taste of modern times.” 


253 


144 
O Lord, our little ones to Thee. 
—W. WHITING. 
ILLIAM WHITING was born November 


1, 1825, in Kensington, London, and received 
his education at Clapham and Winchester. He be- 
came master of the Winchester College Choristers’ 
School and occupied this position until his death, 
in 1878. He has been given a place in the history 
of hymns chiefly on account of his popular hymn 
for sea-farers: ‘‘Eterna] Father, strong to save.” 
The above mentioned hymn, “O Lord, our little 
ones to Thee,” together with four others, was 
printed in The Hymnary, 1872. ‘Thirteen of his 
hymns are found in various English hymnals. He 
published a collection of poems entitled, Rural 
Thoughts. 


145 


Blessed Jesus! here we stand. 
Liebster Jesu, wir sind hier, Deinem Worte 
nachzuleben. 

—B. SCHMOLCK. 


| Deane baptismal hymn was first printed 1709, in 
Schmolck’s Heilige Flammen der himmlischge- 
sinnten Seele, in andachtigem Gebet und Liedern 
angeziindet. It was ordered to be sung by the 
sponsors as they brought the child to the church. 
The English version, by Miss Winkworth, was pub- 
lished in her Lyra Germanica in 1858, and in the 
Chorale Book for England, in 1863. It was sung 
at Windsor Castle in 1863 for the baptism of 


254 


Princess Victoria of Hessen. There are eight Eng- 
lish translations. Of the seven stanzas in the 
original, the fourth and fifth have generally been 
omitted. (Notes on B. Schmolck may be found un- 
der No. 33. On the melody, see No. 34.) 


. 146 
Savior, who Thy flock art feeding. 
—W. A. MUHLENBERG. 

4 Peg is the best known hymn by this author. It 

was written for The Prayer Book Collection, 
1826. In certain versions it has the beginning, “‘Je- 
sus, who Thy flock art feeding.” The melody 
(Batty, or Ringe recht wenn Gottes Gnade) is found 
in the Herrnhuter Choral Book of 1735 and 1s said 
to have come from a secular source. According to 
some authorities, it has come from Freylinghausen’s 
Hymnal of 1704. In the Norwegian church this 
melody has been connected with the hymn, ‘‘Kjemp 
alvorlig nu, Guds Naade” (Landst. 250; Linde- 
man’s Koralbog, 91). 


147 


O Lamb of God most holy. 
O Guds lam uskyldig.—Landst. 65. 
O Lamm Gottes unschuldig. 
Agnus Dei, qui tollis peccata mundi. 
EHOLD the Lamb of God, which taketh away 
the sin of the world” (John 1:29). 
A fervent prayer based upon this Scripture pas- 
sage was, in the ancient church, woven into the 
Greek liturgy as a part of the altar service. In the 


255 


Western church it was also early made a part of 
the liturgy of the eucharist. Pope Gregory the 
Great included it in his Liber Sacramentorum of the 
sixth century. In the seventh century it became cus- 
tomary for the priest to chant this prayer. Under 
pope Sergius (687-701) it was ordained that it 
should be sung by the priest and the congregation 
and that it should be used at communion. Later it 
was decreed that it should be sung by the choir 
alone after the consecration of the elements and 
immediately before the distribution. In the twelfth 
century it became customary to repeat the prayer 
three times with different closing words, as follows: 


Agnus Dei, qui tollis peccata mundi, 
parce nobis! 

Agnus Dei, qui tollis peccata mundi, 
miserere nobis! 

Agnus Dei, qui tollis peccata mund1, 
da pacem nobis! 


Bishop Durandus (d. 1207) says in this connec- 
tion: ‘‘No one has manifested greater patience un- 
der the most intense suffering, temptation, and 
anguish than our dear Savior, wherefore the Church 
marvels at this and sings three times the ‘Agnus 
Dei, qui tollis peccata mundi,’ etc. By this repeti- 
tion we shall consider how our Lord Jesus (1) has 
taken our sins away, (2) taken upon Himself the 
punishment, (3) thru the preaching of the Gospel 
and thru the worthy sacrament He has brought His 
merits into our hearts’ (Skaar). 

In his first order for the communion service Lv- 
ther retained the ‘‘Agnus Dei” to be sung in Latin, 
and he adds that, of all the various portions of the 


256 


altar service, this is especially adapted for use with 
the holy sacrament. But in his Deutsche Messe of 
1526 he prefers to have also the ‘““Agnus Dei” sung 
in the German. Without doubt he then referred 
to the following version: 


Christe, du Lamm Gottes, der du tragst die Siinde 
der Welt, 
erbarme dich unser! 
Christe, du Lamm Gottes, eic., 
erbarme dich unser! 
Christe, du Lamm Gottes, etc., 
gieb uns deinen Frieden! 


In Klaus Mortensgn’s book of chants, printed in 
1528, there is the following Danish version: 


O Guds lam, som borttager alle verdzens synder, 
forbarme teg offver oss! 

ORGuAS Lamy ae ks 
forbarme teg offver oss! 

O Guds lamina ens, 
gif oss tin fred! 


The hymn “Agnus Dei” in its extended form 
was written by Decius in the Low German. It con- 
sists of seven lines, which are sung three times, the 
only change occurring in the last line, third time, 
as follows: 


1. O Lamm Gades vnschiildlich 
am Stam des critzes geslachtet, 
all tydt gevunden dildich, 
wo wol du wordest vorachtet; 
all siind heffstu gedragen 


257 


SySt moste Wy vorizagen. 
Erbarm dy unser, o Jesu! 


2. O Lamm Gades vnschiildlich 
am stam des, u. Ss. w. 
Erbarm dy unser, o Jesu! 


3. O Lamm Gades vnschiildlich 
am stam des, u. Ss. W. 


Giff uns dynen frede, o Jesu. 


This version appeared first in Dietz’ Geystlycke 
leder, 1531, but it must have been written at an 
earlier date, since a Danish translation by Klaus 
Mortensgn was printed in 1529. The High-German 
version of Decius’ hymn soon found a place in the 
hymnals of Germany and was generally used as a 
communion hymn. It was also sung on Good Fri- 
day. In Wurttemberg the church bells chimed while 
the “Agnus Dei’ was sung as the closing hymn. 
Decius’ hymn, however, did not displace the old 
“Agnus Dei.” In Pontoppidan’s Hymnary the old 
version is included at the closing section of the 
litany. It holds the same place also in Landstad’s 
Hymnal (No. 33), and in our Luth. Hymnary, first 
part (page 44; see also Morning Service, page 31), 
while ‘“‘O Lamb of God most holy” has been en- 
tered among the communion hymns. ‘The English 
version is by A. T. Russell (L. H. 26). This was 
first published in 1848. ‘The melody was possibly 
composed by Decius himself. It was first printed 
in Geistliche Lieder und Psalmen, Magdeburg, 1540, 
and was entered in the Christliche Kirchen-Ordnung, 
Erfurt, 1542. Many authorities, however, are in- 
clined to believe that the melody dates from an 


258 


earlier period, probably as ancient as the hymn it- 


self. 
148 
O living Bread from heaven. 
Du Livsens Bréd, Immanuel.—Landst. 60. 
—J. Rist. 


LIVING Bread from heaven’’ appeared first 

in the fifth edition of Rist’s hymns en- 
titled: The Pious and God-fearing Christian’s 
Family Devotion Set to Music, 1654, and it was 
based upon a prayer by Johann Arndt in his Paradis- 
Urtegaard (see Prayer before Communion, 
Landst. 1). The English translation, by Miss 
Winkworth, in Lyra Germanica, 1858, has been 
slightly changed. In Danish this hymn appeared 
first in Pontoppidan’s Hymnal of 1740. The Danish 
translator is unknown. The Danish version has the 
same metrical form as the original (8, 7, 8, 7, 8, 
8, 7), and is sung to the melody, ‘“‘O Helligaand, 
du Skat saa skjgn,”’ ‘“‘Herr, wie du willt, so schicks 
mit mir,” “O Holy Ghost, Thou gift divine” (L. 
H. 380). (Teutsch Kirchenampt, 1525). Our 
present English version is set to Zinck’s mélody, 
“Teg vil mig Herren love” (7, 6, 81), of the Danish 
Koralbog, 1801, which was evidently composed by 
Zinck himself, following an old Danish folk-tune. 
Hartnack Otto Konrad Zinck, born 1746, died 1832, — 
was director of music at the royal theatre in Copen- 
hagen and organist at Vor Frelsers Kirke in the 
same city. He labored zealously for the cause of 
congregational singing. In 1801 he published his 
Koralbog, containing melodies for Den Evangelisk- 
Kristelige Psalmebog. 


259 


Johann Rist was born at Ottensen, near Ham- 
burg, March 8, 1607. He was a son of Kaspar 
Rist, Lutheran pastor at Ottensen, and from his 
birth he had been designated by his parents to be 
a minister. He began to attend school in Ham- 
burg, and at an early age proved to be a very gifted 
boy. Having graduated from the Bremen Gymna- 
sium at the age of twenty, he entered the university 
of Rinteln, where he, under the influence of Josva 
Stegmann, began to take interest in hymnology. 
Having completed his work at Rinteln, he became 
tutor of the sons of a Hamburg merchant, and ac- 
companied them to the university of Rostock, where 
he studied Hebrew, mathematics, and medicine.* At 
the time of his stay in Rostock, this university was 
almost deserted on account of the hardships caused 
by the Thirty Years’ War, and the pestilence kept 
him in the sick-bed for some length of time. After 
a sojourn in Hamburg he was engaged as private 
tutor for a family at Heide, Holstein, and while 
staying there he was betrothed to Elizabeth Stap- 
fel, a sister of Judge Franz Stapfel. Shortly after- 
wards he was appointed pastor at Wedel, near 
Hamburg. In the spring of 1635 he married and 
settled at Wedel, where he labored until his death, 
August 31, 1667. Like the rest of his countrymen, 
Rist had to suffer much from the ‘‘famine, plunder- 
ing, and pestilence” caused by the Thirty Years’ 
War; but otherwise he enjoyed a happy life at 
Wedel, devoting his time to his pastoral duties and 
to the writing of poetry. He was respected and 


*It is claimed by some that he studied also at Leipzig, 
Utrecht, and Leyden. 


260 


honored by all who learned to know him, and grad- 
ually he became very famous. In 1644 he was made 
poet laureate by Emperor Ferdinand III, and in 
1653 was raised to the rank of nobility by the same 
ruler. Duke Christian of Mecklenburg made him a 
councillor of his civil and ecclesiastical courts. In 
1645 he was admitted as a member of the Pegnitz 
Order, and in 1647 as a member of the Fruitbearing 
Society, which had been organized by Opitz and 
was the most famous poets’ union of that time. In 
1660 he became the founder and head of the Elbe 
Swan Order, which, however, did not survive his 
death. 

Some writers describe Rist as a vain and ambitious 
man; but this must be refuted, and it also runs 
counter to the statements of several prominent his- 
torians. ‘The fact that he belonged to the poets’ 
orders of his day and even organized one himself, 
testifies to his zeal in advancing the cause of poetry, 
and is by no means a proof that he cherished a vain 
craving for honor and fame. He has written about 
680 hymns and spiritual songs. His hymn-writing 
embraces or covers, so to speak, the entire field of 
theology. There are poems for all classes and ranks 
and for almost all kinds of occasions in human life. 
Many of his songs are of inferior value and are not 
suited for church use, nor were they written for 
that purpose; but many will continue to be among 
the best church hymns. ‘They are Scriptural, ob- 
jective, full of Christian faith, and edifying in the 
best sense of that term. More than 200 of his 
hymns are said to have been in use in Germany, 
and many of them have been translated into other 
languages. ‘The best of his hymns appeared in the 


261 


following publications: Himlische Lieder, 50 hymns, 
Lineburg, 1641, and Leipzig, 1642; Neuer Him- 
lischer Lieder sonderbares Buch, 50 hymns, Liine- 
burg, 1651; Sabbatische Seelenlust, 58 hymns on the 
Sunday Gospels; Frommer und gottseliger Christen 
Alltagliche Hausmusik, 70 hymns, Lineburg, 1854; 
Neitie musikalische Fest-Andachten, 52 hymns on the 
Sunday Gospels; Nezie musikalische Katekismus- 
Andachten, 50 hymns, Lineburg, 1656. Among his 
secular poetry may be mentioned Friedewiinschende 
Teutschland and Friedejauchzende Teutschland, 
two plays giving vivid pictures of the life and con- 
ditions of the common people during the Thirty 
Years’ War. 


149 


Deck thyself, my soul, with gladness. 
Schmiicke dich, o liebe Seele. 
Nu skal du, min Sjal, dig smykke. 
—Hymn Book Norw. Synod, 205. 
—J. FRANCK. 


4] Poe first stanza of this hymn was published 
1649, in J. Criiger’s Kirchenmelodien. It was 
there set to Crtiger’s melody. The whole hymn 
of nine stanzas appeared in the Criiger-Runge Ge- 
sangbuch, published in 1653 under the title, 4 
Preparation for the Lord’s Supper. It was also given 
a place.in Griiger’'s, Praxis Pietatis,: 1656;. in 
Franck’s Geistliches Zion, 1674, and soon found 
a place in all the leading German hymnals, where 
it has since been retained. It belongs to the im- 
mortal hymns of the Lutheran Church and in a large 
number of congregations in Germany and America 


262 


this hymn is sung regularly before communion. 
The former president of the Norwegian Synod, 
Dr. V. Koren, employed this hymn in his church 
on Washington Prairie, lowa, every Maundy Thurs- 
day during the course of his ministry, which ex- 
tended over fifty years in that one congregation. 
The hymnologist, James Mearns, says that this 
hymn is possibly the most beautiful of all the Ger- 
man communion hymns. 

Danish versions were made by Brorson and Fr. 
Rostgaard. The latter’s translation was given a 
place in Pontoppidan’s Hymnal. There are in all 
eight or more English versions. Of these, Miss 
Winkworth’s is the most popular. There are two 
versions by Miss Winkworth. The first one ap- 
peared in her Lyra Germanica, 1858, and is not in 
the meter of the original; the other, dating from 
1863, is in the same meter as the original. In both 
versions, however, stanzas 3, 6, and 8 are omitted. 
The Evangelical Lutheran Hymn Book of the Mis- 
sour! Synod includes all nine stanzas. Johann Cri- 
ger’s melody from 1649 has always been used with 
this hymn. 

Johann Franck was born June 1, 1618, in Guben, 
Brandenburg. His father, an attorney and coun- 
cillor of the city, died two years later, and the son 
was adopted by the city judge, Adam Tielckau, who 
was married to his aunt, and who provided for his 
education. Johann first attended the school at Gu- 
ben and later the gymnasium at Cottbus, but he had 
to leave the latter city on account of the Thirty 
Years’ War. He then continued his studies at Stet- 
tin and Thorn, until 1638, when he enrolled as a 
student of law in the university of Konigsberg, the 


263 





only German university which continued its work 
somewhat unhindered during the years of the great 
war. In Konigsberg, Franck also developed his 
poetic talent under the guidance of the pious and 
prominent professor, Simon Dach. He enjoyed the 
companionship of Heinrich Held, who also became 
a hymn writer. He likewise associated with a num- 
ber of other Christian young men, who kept aloof 
from the common excesses of student life. In 1640 
he returned to Guben at the earnest request of his 
mother. Here he later entered the law profession 
and very soon became well and favorably known 
on account of his poetic and professional ability. 
He was first elected alderman, then burgomaster, 
and, finally, a member of the landtag. Franck died 
in 1677. Two hundred years later a memorial was 
erected to him in the form of a marble tablet set 
into the wall of the principal church of the city. 

As a writer of hymns Franck is ranked next after 
Paul Gerhardt during this period. Of his 110 
hymns, which are more subjective than Gerhardt’s 
and the earlier Lutheran hymns, over one half are 
in common use. The present hymn, together with 
“Jesus, priceless treasure’ (Jesus, du min Glede; 
Jesu, meine Freude) and ‘‘Lord, to Thee I make 
confession” (Herre, jeg har handlet ilde; Herr, 
ich habe missgehandelt) have been translated into 
many languages, and are always mentioned among 
the best church hymns. Franck’s hymns have not 
the objective character so prominent in the earlier 
Lutheran church hymns. But they breathe a deep 
desire for union with Christ, deep prety, and pure, 
Christian sentiment, and they are characterized by 
marked pathos and lyric beauty. 


264 


150 
Draw nigh and take the body of the Lord. 


Sancti venite, corpus Christi sumite. 
—From the Latin. 


| Po original of this communion hymn was 
found in an antiphonarium, written 680-691 in 
Bangor cloister, Down County, Ireland. It is now 
kept in the Ambrosian library of Milan, Italy. The 
printed text is found in Rambach’s and O. A. 
Daniel’s editions. It is thought that the hymn was 
sung especially when the priests partook of the com- 
munion. Dr. Neale, who has translated this hymn 
into English, says that it is characterized by marked 
piety and simplicity. It is one of the very oldest 
of our communion hymns. The melody (Lammas) 
was composed by Arthur Henry Brown, born in 
England 1830. At the age of ten he became or- 
ganist at Brentwood, where he served the rest of 
his life. He wrote many hymn tunes, and edited a 
number of books. Among the latter may be men- 
tioned The Altar Hymnal. 


151 


According to Thy gracious Word. 
—J. MONTGOMERY. 


4 Rien communion hymn was first printed in the 
author’s The Christian Psalmist, 1825, under 
the title, This Do in Remembrance of Me. It is 
one of the most popular communion hymns in Eng- 
land and has been taken up in a large number of 
hymnals. In some books there is a doxology added 
to the last stanza. The melody (Dundee) appeared 


265 





first in 1615, in the Scottish Psalter. In that edi- 
tion it is called ‘““The French Tune.” In 1621 it 
was printed in Ravencroft’s Psalmes and was there 
set to the 36th Psalm, under the name of ‘“The 
Dundy Tune.’”’ It must not be mistaken for the 
tune which in Scotland is called ‘“‘Dundee,”’ but 


which is called ‘‘Windsor” in England (L. H. 314). 
152 


O God, unseen, yet ever near. 
—E. OSLER. 


F OR my flesh is meat indeed, and my blood is 
drink indeed” (John 6:55). This is Osler’s 
best known hymn and it is widely used. It was first 
published in W. J. Hall’s Mitre Hymn Book, 1836. 
In some editions the first line reads, ““O Christ, un- 
Seenyyet ever near ; in others, yet truly near.’ 
Edward Osler was born 1798, in Falmouth. His 
parents were Non-Conformists. At Falmouth and 
Guy’s Hospital, London, he was educated and 
trained for the medical profession. He joined the 
Episcopal Church early and worked for the So- 
ciety for the Propagation of Christian Knowledge. 
In 1841 he settled in Truro, where he took over the 
editorship of the Truro Royal Cornwall Gazette 
and continued there until his death. In 1835-1836 
he assisted Rev. W. J. Hall in editing the Mitre 
Hymn Book. In this book 50 of his hymns ap- 
peared. Osler died in Truro, March 7, 1863. 


266 





153 


My God, and is Thy table spread. 
—PuH. DODDRIDGE. 


C OME, for all things are now ready” (Luke 
14:17). 

‘None of the hymns of Watts,” says H. L. Ben- 
nett, ‘‘can compare with this one in form, or in 
feeling, or in beauty of diction.” With Malachi 
1:12 as a title, it was first printed in 1755 in Job 
Orton’s edition of Doddridge’s hymns. These were 
published after the author’s death. The original 
has six stanzas. Our edition has made use of stanzas 
1, 2, and 4. The hymn is found in the abbreviated 
form in most hymnals, but it is used very extensively 
and has been translated into many languages. It 
has been rendered into Latin by Bingham. ‘The 
melody is of German origin and has been ascribed to 
Bartholomaus Gesius, who in 1605 composed a 
hymn to which this melody was first set, namely, 
‘“‘Mein Seel, o Gott, musz loben dich.” In the 
Scandinavian countries this melody has been asso- 
ciated with the hymn ‘Jesu, din Ihukommelse” 
(Landst. 66), “Jesus, the very thought is sweet”’ 
Clade Say vesu dulcis memorlay a estas 
(1555-1621) was cantor at Frankfurt an der Oder. 

Philip Doddridge was born 1702, in London. His 
father was an oil dealer, and his grandfather was 
a minister. The Duchess of Bedford offered to 
pay for his university education, in order that he 
might become a minister in the Church of England, 
but the offer was rejected. He was educated at a 
Non-Conformist seminary under the leadership of 
a certain Mr. Jennings. ‘Then he served as pastor 


267 





for a few years, until 1729, when he took up his 
real life work upon being appointed professor and 
president of the Theological Seminary of Northamp- 
ton. While in this position, he also served as pas- 
tor of the Congregational Church of the city. He 
performed his duties with faithfulness and zeal un- 
til 1751, when he was compelled to go south to seek 
relief from the tubercular disease which had seized 
him. He died the same year in Lisbon. 

Two hundred students from England, Scotland, 
and Holland received their education under Dodd- 
ridge, and the majority of them became Dissenter 
preachers. The various subjects on which he lec- 
tured testify to his versatility and learning. He 
served as instructor in Hebrew, Greek, algebra, 
philosophy, and logic, besides the regular theolog- 
ical studies. He was also very productive as a 
writer. The Rise and Progress of Religion in the 
Soul is his principal work. He ranks as one of the 
most important hymnwriters of England, not be- 
cause he has written hymns of strictly first rank, but 
because many of his hymns are sung wherever the 
English language is used. The greater number of 
his hymns were written expressly for the use of his 
congregation and were sung after his sermons. 
Doddridge saw very few of his hymns printed. 
Manuscript copies were made for his church, and 
these copies were in continual circulation. They 
were finally gathered, edited, and printed by his 
disciple, Job Orton, in 1755, under the title, Hymns 
Founded on Various Texts in the Holy Scriptures. 
They have not the force and fulness of Watts’ 
hymns, but they are characterized by a simplicity 
and warmth which is lacking in many of the hymns 


268 


of his great contemporary, and further, they bear 
witness to deep Christian experience. Doddridge 
gained fame as a divine and author, and was an 
intimate friend of Watts, Whitefield, and other 
leading men of his day. He received his degree of 
doctor of theology from the university of Aberdeen. 


154 


Jesus, the very thought is sweet. 
Jesu, din Ihukommelse.—Landst. 66. 
Jesu dulcis memoria. 
—ST. BERNARD OF CLAIRVAUX. 


HRU many centuries this famous hymn has 

been ascribed to Bernard of Clairvaux. It has 
been called The Jubilus of St. Bernard or Jubilus' 
St. Bernhardi de nomine Jesu. Many parallels to 
this hymn have been found in Bernard’s Canticles 
(Canticum Canticorum). It was possibly written 
about 1150, shortly after the Second Crusade. St. 
Bernard had been instrumental in organizing this 
crusade and was therefore largely blamed for its 
dismal failure. ‘Tired of the world, he withdrew 
into solitude. When everything thus seemed dark 
around him, his thoughts were turned more and 
more fervently toward Jesus, the light of life. Dr. 
Schaff in his Christ in Song calls this hymn ‘‘the most 
delightful and the most evangelical of all the hymns 
of the Middle Ages; the finest and most character- 
istic sample of Bernard’s poetry; a reflection from 
his Christ-like personality.” ‘The hymn,” says 
Landstad, “‘is not really intended as a communion 
hymn; the holy communion is not even mentioned 
in it. It is a love-song to the heavenly bridegroom, 


269 


whose name is so dear to the soul that we cannot 
sufficiently praise it or bless it.”’ ‘Therefore the 
hymn has been called Jubilus in nomine Jesu, Praise 
to the Name of Jesus or A Hymn of Praise Con- 
cerning the Name of Jesus. ‘The thought dwells 
upon the crucified, buried, risen, and ascended 
Savior and expresses the desire of the soul, its sor- 
row, its seeking and its searching, it expresses its 
joy upon having found the Savior, and hope and 
prayer in communion with Him. Hence, the hymn 
has indeed become the favorite song of the Lord’s 
yearning and heavenly-minded bride, the Church, 
and is therefore especially adapted for use at the 
Lord’s Supper, which is the soul’s ‘‘love-feast” with 
the Lord. The hymn has been criticized on account 
of the seemingly monotonous way in which the ideas 
circle around the central theme. And this is true. 
But the theme of the hymn is the Lord Jesus. We 
are reminded of the small winged insects that swarm 
about an electric light, making continually smaller 
and smaller circles. ‘Their desire is to unite with 
the light. They try to enter into the light. It 1s 
the center of all their longing and yearning. Thus, 
rightly considered, the criticism advanced against 
this hymn rather brings out the most praiseworthy 
characteristic of this unique Jesus-hymn. Concern- 
ing Bernard of Clairvaux Luther says: “If there 
ever has lived a truly God-fearing and pious monk, 
then St. Bernard was such a one, whom I rank 
higher than all monks and popes in all the world, 
and I have never heard or read of anyone that can 
be compared with him.” 

We do not like to deprive St. Bernard of this 
hymn. But the authenticity of his authorship has 


270 


long been called in question. And now, lately, Dom 
Pathier has found it in a manuscript from the 11th 
century, where the hymn is ascribed to a Benedict- 
ine abbess. St. Bernard was born 1091. The old- 
est of the manuscripts found hitherto date from the 
close of the 12th century. One of these is kept in 
the Oxford library. YWhis contains 42 stanzas and 
experts have accepted this version as the original 
of this famous hymn. It is found in almost the 
same form in the Bodleian and the Einsiedeln manu- 
scripts from the 13th century; also in one manu- 
script from the 15th century kept in the National 
Museum of Paris. The number of stanzas varies 
from 42 to 56. The form containing 50 stanzas 
was presumably used as a rosary hymn. The hymn 
has also been divided into several lesser sections 
for the various groups of the altar service. Thus, 
in the Roman breviary from 1733 and later: ‘Jesu 
dulcis memoria,” etc., for evening worship; “Jesu 
Rex admirabilis,” ‘etc., for morning worship; and 
‘Jesu angelicum,” etc., for lauda. As early as in 
the 16th century it was customary to sing several 
sections of this hymn at the festival of the Holy 
Name. Thus Paris Breviary from 1499, and the 
Hereford and Aberdeen Breviaries from 1505 and 
1509 have ‘Jesu dulcis memoria’”’ for the morning 
worship and ‘‘Jesu, auctor clementiae”’ for the lauda. 
For use at the-canonical periods the hymn was 
divided into seven sections of about equal length. 

There are, indeed, other hymns of which we have 
several English translations, but this hymn is quite 
unique in this that it has furnished the source for 
a vast number of beautiful hymns, Jesus-hymns. 
Versions of this hymn are sung thruout all Chris- 


Zi 





tendom, and it has been translated into all leading 
languages. A list of the various centos in the Eng- 
lish language alone would fill many pages. The 
oldest German version, ‘‘Nie wart gesungen siizer 
gesanc,” is from the 14th century and contains 11 
stanzas. Among the later German translations may 
be mentioned that by Martin Rinkart: “An Jesum 
denken oft und viel,’ and N. L. von Zinzendorf’s, 
‘Jesu, deiner zu gedenken.” Johann Arndt’s Garden 
of Paradise, 1612, contains a German version of 
18 stanzas beginning with: “O Jesu stiss, wer dein 
gedenkt.” A later edition of this work has another 
translation of 52 stanzas. ‘The first Danish trans- 
lation, comprising! 48 stanzas, is by Jens Jensgn 
Otthense, Copenhagen, 1625. ‘This furnished the 
basis for Landstad’s Norwegian version (Landst. 
66). 


155 
O Jesus, blessed Lord, to Thee. 
O Jesu, spde Jesu, dig—lbLandst. 70. 
—THomas KInco. 

O JESUS, blessed Lord, to Thee’ was first 

published 1689 in En Ny Kirke-Psalme- 
Bog (Vinterparten) under the title En anden Tak- 
sigelse effter Alterens Sacramentes Annammelse 
(Thanksgiving after the Lord’s Supper). This 
hymn has found a place in the hymnals of Kingo, 
Pontoppidan, Guldberg, and Hauge, and it is the 
only one of Kingo’s hymns which has been given a 
place in Hymns Ancient and Modern. The present 
translation is by A. J. Mason, born 1851, known 


272 





in England as a prominent hymn writer, preacher, 
and theological professor. 


156 


May God be praised henceforth and blest forever. 
Gud vere lovet evig nu og priset.—Landst. 69. 
Gott sei gelobet und gebenedeiet. 

—M. LUTHER. 


es hymn appeared first in Eyn Enchiridion, 
Erfurt, 1524. The first verse was taken al- 
most intact from a medieval communion hymn. 
Luther added the second and third. Luther prized 
the old verse highly. He says concerning it, “It 
pleases me greatly to hear this hymn sung while 
the people receive the holy sacrament.’ Again, ““The 
Church, or the Christians in general, who have not 
received the sacrament under both forms, may be 
excused. [hey have been deceived and led astray 
by anti-Christ, who has permitted only the one form 
to be given to them. But the common belief has 
remained fixed and pure that Christ has instituted 
the sacrament, so that His body and blood shall 
be received by all Christians, to which fact many 
songs and rimes bear testimony, especially the hymn, 
‘May God be praised henceforth and blest forever.’ 
. . . Thru this and other similar songs which were 
sung in the churches during the celebration of the 
Lord’s Supper, or as processionals, the Church has 
publicly proclaimed woe and anguish upon anti- 
Christ and the Roman system. ‘Thru hymns of this 
kind the Church publicly confessed its faith, that 
Christ has given it both His body and His blood, 
and that it had the right to receive them in accord- 


273 


ance with the express command of Christ. This is 
what the Church believes, confesses, and sincerely 
desires in this hymn.’ He says further that this 
hymn is a pure and beautiful Christian confession, 
and that it proves that the laity, at the time of the 
composition of the hymn, received the Lord’s Sup- 
per in both forms. Its date of composition is not 
known; but it is certain that this communion verse 
was sung in the Catholic Church long after the cup 
was denied the laity. 

The oldest version is found in a manuscript from 
the fifteenth century and is kept in the Fransiscan 
cloister in Miltenberg. It reads as follows: 


Got sy gelobbet und gebenedyet, 

der vns alle hait gespysset 

midt synen fleysch undt synen blude, 

das gibbe uns lieber herre got zu gude 
Kyrie eleyson., 


O herre dorc dynen heilgen fronlychenam, 

der von dyner mutter Marien quam, 

und das heilege bludt 

nu hillf vnss herre uss aller unser naydt, 
Kyrie eleyson. 


This manuscript and also some other sources 
have the following lines added after the fourth line: 


Das heylge sacramente 
an unsserm lesten ende 
uss dess gewyten priesters hende, 


which lines Luther for good reasons considered a 
later addition and not genuine. He takes occasion 
from this to warn against the spirit of popery, 


214 


which lies in the expression ‘‘uss dess gewyten priest- 
ers hende,”’ “‘from the hands of the consecrated 
priest.” Luther says: “It is especially fitting for 
the laity to sing in this verse that Jesus has fed 
them; not the parish father or the priest, but Christ 
Himself.” 

The English translation is by Robert Massie (See 
No. 29). The first Danish translation, evidently 
rendered by Klaus Mortensgn, appeared 1 Det hel- 
lige evangeliske Messe-Embede, 1528. The Nor- 
wegian version is by Landstad. ‘The melody, which 
dates from the Middle Ages, was arranged for 
choir use by Johann Walther in the Gesangbiichlein, 
1524, 


157 
O how shall I receive Thee. 
Hvorledes skal jeg m¢de.—Landst. 98. 
Wie soll ich dich empfangen. 
—PAUL GERHARDT. 


‘HS hymn was first published in Criiger-Runge’s 

Gesangbuch, Geistliche Lieder und Psalmen, 
1653; ten verses are based on Matt. 21:1-9, the 
Gospel lesson for the First Sunday in Advent. This 
is one of Gerhardt’s most beautiful hymns and pos- 
sibly the best Advent hymn in the German language. 
Kock, the hymnologist, believes it was composed — 
during the stress of the Thirty Years’ War. There 
are eight English translations. Ours in The Lu- 
theran Hymnary is by A. T. Russell (see No. 26). 
It was rendered into Danish by H. A. Brorson and 
was published in a group of Advent hymns in 1733. 
In 1740 it appeared in Pontoppidan’s Hymnal. 


215 


The melody was first printed in Zinck’s Choral- 
buch, 1801. It has not been established whether 
Zinck composed the melody or rendered it as a 
variation upon an older tune. In Denmark and 
Norway this melody has been used for the hymn 
‘Jeg vil mig Herren love’’ and several other hymns. 
It has been included in many Lutheran hymnals in 
America. 

Paul Gerhardt was born March 12, 1607, in 
Grafenhaynichen, a village between Halle and Wit- 
tenberg. His father, Christian Gerhardt, who was 
mayor of the village, died before Paul had reached 
maturity. Paul Gerhardt’s youth was spent under 
the stress and suffering of the Thirty Years’ War. 
Otherwise there is little of note to relate from his 
early life. From 1622-1627 he attended school at 
Grimma. On the 2nd of January, 1628, he began 
the study of theology at the university of Witten- 
berg. This was in his twenty-first year. There is 
reason to suppose that he remained in Berlin until 
the first part of the year 1642; but there is very 
little reliable information on this period of his life. 
Germany was desolate and depopulated, and many 
of the younger theologians had to wait a long time 
before they could enter the active ministry. Thus 
Paul Gerhardt served for a number of years as 
family tutor in the home of Andreas Berthold, an 
attorney in Berlin. In the Christian atmosphere his 
gift of song began to develop and bear fruit. Many 
of his hymns were published in 1648 in Johann 
Criiger’s Praxis Pietatis Melica. Criger was cantor 
and director of music in the church of St. Nicholas, 
where Gerhardt frequently preached. In 1651 he 
was called to Mittenwalde, a little town near Ber- 


276 


lin, and entered upon his duties there the following 
year. Four years later he married Anna Maria 
Berthold. ‘Their first child—a daughter—died in 
infancy. His office in Mittenwalde brought him 
only a scant income. Further, he experienced much 
unpleasantness from his colleague, deacon Allhorn, 
who was jealous of Gerhardt because he had been 
selected to the office of provost in preference to 
himself. Hence, Gerhardt gladly accepted the call 
from Berlin, in 1657, to become third assistant pas- 
tor of the church of St. Nicholas. His activity in 
Berlin gave him an opportunity to unfold his un- 
usual gifts. He continued to write hymns. He 
was recognized as the most popular preacher in the 
city and gathered large audiences at his services. 
He also became famous for his philanthropy. He 
gave assistance to all the needy who came to his 
door. He was of a kindly temperament and bore 
up cheerfully under all trials. But he was also a 
most conscientious minister in matters of doctrine 
and confession. 

At this time Prussia was ruled by Elector Fried- 
rich Wilhelm the Great. The majority of the peo- 
ple were Lutherans, but the ruler himself was a 
Calvinist. ‘There was bitter opposition between the 
ministers of the two churches, and they condemned 
each other’s doctrine in the most violent terms. 
Gerhardt, altho as faithful and ardent a Lutheran 
as any one, used more moderate language, for which 
he gained the respect and esteem of many of the 
leaders among the Reformed, among whom may be 
mentioned Duchess Louise. The elector arranged 
conferences between the leading men of both par- 
ties in an attempt to bring about more unity or at 


277 





least greater tolerance; but this did not bring the 
desired results. He became impatient and issued 
an edict forbidding the ministers to attack each 
other’s doctrine and confession, and later he re- 
quired all the Lutheran ministers to sign a document 
compelling them to follow the order of the edict. 
No Lutheran minister who wished to remain true to 
his confession could agree to this. Several were 
thus compelled to leave their charges. Gerhardt, 
who was sick at the time, summoned the ministers 
of Berlin to his bedside and admonished them to 
stand firm and not to yield to the demands of the 
elector. 

On the 9th of February, 1666, Gerhardt was 
called before the consistory and asked to sign the 
famous document. He was given one week’s time 
to consider the matter; but even before the meet- 
ing adjourned he declared that his decision in the 
matter would not be changed. Following this an- 
nouncement, Gerhardt was deposed from his office. 
This caused great consternation and sorrow among 
his towns-people. Gerhardt, however, retained his 
calmness of mind and referred to the incident as 
his “Berlin martyrdom.” ‘The matter became more 
serious when the authorities prohibited him even 
from conducting private meetings for worship in 
his own house. ‘This grieved him very much. But 
other sorrows followed fast. At an earlier period 
he had lost three of his five children. During this 
time of trial one of his sons also died and his wife 
became seriously ill. 

The Lutherans of Berlin disliked very much to 
see their beloved pastor deposed in this manner. 
Many petitions were sent to the elector by the citi- 


278 





zens, by the laborers, by the town council, and even 
by the wife of the elector. The elector assumed a 
more favorable attitude towards Gerhardt, and 
January 9, 1667, he ordered him reinstated. But 
this did not make matters very much better. The 
messenger who brought in the news brought also 
an oral greeting from the elector, which expressed 
his conviction that Gerhardt, who was known for 
his moderation, would be able to appear and preach 
in harmony with the before mentioned edict of the 
elector. ‘To agree to this would be just as binding 
upon his conscience as tho he had signed the edict. 
This he expressed in writing to the magistrates as 
follows: ‘‘Whatever is done with a bad conscience, 
it is an abomination in the eyes of God and brings 
no blessing, but rather a curse upon the doer; neither 
I myself nor my congregation will be served in this 
manner.” ‘Then, in 1667, the elector appointed a 
successor; but this preacher could not take up the 
work until the latter part of the following year, 
and until that time Gerhardt received the income 
from the office. After this he was supported by a 
number of charitable members of his congregation. 
His wife died at Eastertide, 1668. Only a son, 
six years of age, now remained with him. In May, 
1669, he was called to the office of archdeacon of 
Libben. He labored here for seven years with 
great success. Gerhardt died June 7, 1676. Here, 
in the latter period of his life, he found much com- 
fort in the eighth verse of the hymn composed by 
himself: ‘Warum sollt’ ich mich denn gramen,”’ 
‘‘Dgden kan os ikke dgde,” “‘Death cannot destroy 
forever’ (L. H. 342, 4). 


219 


Death cannot destroy forever: 
From our fears, 
Cares and tears, 

Soon shall it deliver. 

Doors of grief and gloom it closes, 
While the soul, 
Free and whole, 

With the saints reposes. 


A life-size painting of Gerhardt has been placed 
in the church of Liibben. The painting has this 
inscription: Theologus in cribro Satanae versatus 
(A theologian sifted in the sieve of Satan). Paul 
Gerhardt was an excellent pastor and one of the 
best, if not the best one, of the hymn writers of 
Germany. In the upbuilding of the German-Prot- 
estant Church Paul Gerhardt ranks second only to 
Luther as a hymnist. Wackernagel says: “In re- 
gard to their spiritual value, the hymns of Paul Ger- 
hardt may be viewed from two opposite angles. His 
poems seem to reflect the transitional character of 
his times. His own subjective spiritual life began 
to assert itself besides giving expression to the Chris- 
tian consciousness of the congregation. Thus he 
may be regarded as the last and at the same time 
the best of those poets who were rooted in confes- 
sional Christianity. Gerhardt concludes the list of 
‘church poets’.”” In conclusion we quote the follow- 
ing from Rudelbach: ‘‘Together with Paul Ger- 
hardt, who on account of his faithfulness toward 
the Lutheran confession suffered himself to be de- 
posed from office, all Lutheran Christians join in 
song, whether it be his hymns for children or his 
Christmas hymns—which in spirit rank beside those 


280 


of Luther—or the hymns of sorrow and comfort at 
the cross of Christ, or hymns of prayer for the Holy 
Spirit, or when he appears on the side of God as 
the soldier of Christ and joyfully brings to others 
the comfort which the Lord has given unto him, 
or when he meditates upon Christian life, its be- 
ginning, progress and -end, as it rests in the hand of 
God.” 

Paul Gerhardt possesses a certain poetic richness, 
which by no means can be referred to his poetic 
individuality alone. It finds its fullest explanation 
only in the sincere Lutheran spirit with which he 
was imbued. It is by no means the case, as some of 
the modern writers have thought, that he was lack- 
ing in traditional Lutheran force; indeed, as the 
Thirty Years’ War, which in its campaigns and re- 
sults brought so much suffering, produced many 
spiritual heroes, who took on the armor of the 
Lord; thus also Gerhardt, who himself had experi- 
enced many sufferings, took the harp of Zion and 
sang with a loud voice as follows: 


Not fire, nor sword, nor thunder, 
Shall sever me from Thee; 

Tho earth be rent asunder 
Thowrt mine eternally: 

Not hunger, thirst, nor danger, 
Not pain, nor pinching want, 
Nor mighty princes’ anger, 

My fearless soul shall daunt. 


No angel, and no gladness, 
No throne, no pomp, no show, 
No love, no hate, no sadness, 


No pain, no depth of woe, 


281 





No scheme of man’s contrivance, 
Tho it be great or small, 

Shall draw me from Thy guidance— 
Not one of these, nor all! 


eandst.225,/¥, 10, 11: UL. El 272, v..9, 10,) 


158 


Lift up your heads, ye mighty gates. 
Gjg¢r Déren h¢i, gj¢r Porten vid.—Landst. 97. 
Macht hoch die Thiir, das Thor macht weit. 

—G. WEISSEL. 


eas hymn is one of the most beautiful of the 
Lutheran Advent hymns and is based upon 
Psalm 24:7-10. ‘Lift up your heads, O ye gates; 
and be ye lifted up, ye everlasting doors; and the 
King of Glory shall come in.”? This hymn was first 
printed in Preussische Fest-Lieder, 1641, for the 
first Sunday in Advent. It was included in Criiger’s 
Praxis Pietatis, 1662, and has found a place in the 
leading hymn books up to our time. The English 
translation is rendered by Miss Winkworth in Lyra 
Germanica, 1855, and the Chorale Book for Eng- 
land, and has been taken up into many other English 
and American hymnals, tho often in an abbreviated 
and somewhat revised form. The hymn was ren- 
dered into Norwegian in seven short verses by N. 
J. Holm, evidently following the hymn book of the 
Moravian Brethren, Barby, 1778, where the fourth 
verse of the original is omitted. Landstad made 
use of this translation, but revised and enlarged it 
into eight four-lined verses. 

The melody is composed by Johann Stobaeus and 


282 


was published in his collection called Geistliche 
Lieder, 1634. 

Georg Weissel, son of Johann Weissel, judge 
and mayor of Domnau, near Konigsberg, was born 
in Domnau 1590. From 1608 to 1611 he studied 
at the university at Konigsberg and later at Witten- 
berg, Leipzig, Jena, Strassburg, Basel, and Mar- 
burg. In 1614 he became rector of a school in 
Friedland, near his native city, and returned three 
years later to Konigsberg to resume his theological 
studies. In 1623 he became pastor of the church in 
Konigsberg, and served there until his death, in 
1635. Weissel has written about twenty hymns. 
These are chiefly designated for the festivals of the 
church year. His hymns rank high and three of 
them have been translated into English. 

Johann Stobaeus was born July 6, 1580, in Grau- 
denz, West Prussia. At an early age he was sent 
to Konigsberg, where he studied music under Jo- 
hann Eccard, who was “‘kapellmeister’’ in that city. 
He also attended the university; sang in the chapel 
chorus, and in 1602 became cantor of the church 
and the cathedral school. In 1626 he was appointed 
by the duke to the position of ‘‘kapellmeister” of 
Konigsberg, where he labored until his death, in 
1646. 


283 


159 


Awake, thou that sleepest. 
Vaagn op, du som sover.—Landst. 103. 
—M. B. Lanpsrap. 


WAKE, thou that sleepest’” is based upon 
Ephesians 5:14: “Wherefore he saith, 
Awake, thou that sleepest, and arise from the dead, 
and Christ shall give thee light.”” But neither Land- 
stad’s hymn nor Lindeman’s melody can be classed 
among the productions of very high rank. ‘The 
hymn is indeed written in the form of a spiritual 
folksong, and there are attempts at poetic flight; but 
considered as a whole, these became rather mis- 
directed. The melody and form of this hymn bring 
to mind the picture of a bird struggling upon a 
broken wing, making unsuccessful attempts at flight. 


160 


Wake! the welcome day appeareth. 

Op, thi Dagen nu frembryder.—Landst. 95. 
Auf, auf, weil der Tag erschienen. 

—J. A. FREYLINGHAUSEN. 


al HIS hymn first appeared in the author’s Neues 
Geistreiches Gesangbuch, 1714, composed of 
eleven verses. In our version verses 2, 7, and 8 
are omitted (Landst. verses. 2, 6, and 8). Its 
Biblical basis is as follows: 1, Isaiah 61:2; Psalm 
Patnoenees. uke 10:24. 3s Genesis 2s 22e13) 
Peon y-25° Luke 19:10) 5. Gh.) Eph 
Beeoieats slor «5 (Landst.),:ibrebry 825 sl Oct 
GeewOorwo: | we Rom) 8715-16) 0 fj Mattoo hess 


284 





Hebr. 10:19; John 8:12. Our translation was 
rendered by Miss Cox and published in her Sacred 
Hymns from the German, 1841. Frances Elizabeth 
Cox was born in Oxford, May 10, 1812, and died 
September 23, 1897. She has rendered many ex- 
cellent translations of German hymns, of which a 
number are found in our Lutheran Hymnary. The 
melody, composed by L. M. Lindeman for this 
hymn, was printed first in his Koralbog, 1871. 
(Notes on Freylinghausen may be found under 


No. 30). 


1l6l 
O Bride of Christ, rejoice. 
Fryd dig, du Kristi Brud—Landst. 96. 
Translated by V. O. PETERSON. 


| A Contribution to the History of Danish 
Hymns, Brandt and Helveg make the following 
statement: ‘“O Bride of Christ, rejoice,” which we 
have rendered from a hymnal edited in 1619, 1s 
as far back as in 1611 designated by Arrebo as an 
old hymn. Arrebo refers this hymn to an earlier 
period, and surely both the form and the melody 
of this hymn seem to belong rather to the pre- 
Reformation era.” Rudelbach is of the opinion 
that this hymn “most certainly belongs to the hymn- 
treasury of the Middle Ages,” and he repeats Ar- 
rebo’s statement. Concerning these assertions Skaar 
says: ‘‘ ‘Most certainly’ is not the right expression. 
It is true, Arrebo calls it an old hymn; but he had 
no more information than we concerning its author 
and designated it as ‘old,’ because he had been ac- 
quainted with this hymn and had heard it sung from 


285 


his earliest youth. In regard to the internal evi- 
dence, the matter is quite different; but, everything 
considered, both the form and the melody of this 
hymn may be referred to the period of Sthen, at 
which time the folksong was adopted into several 
English hymn books and was known under the name 


Dh bay 


‘Gottingen’. 


162 
Rise, children of the kingdom. 
Auf, auf, ihr Reichsgenossen. 


—J. Rist. 


pias hymn was first published in Rist’s Sab- 
bathische Seelenlust, Liineburg, 1651. It con- 
tained twelve verses under the title: The Gospel 
Lesson for the first Sunday in Advent as recorded 
by the Evangelist Matthew in the twenty-first chap- 
ter of his Gospel. Several English hymnals have 
the first line: ‘‘Arise, the kingdom is at hand’; 
‘Arise (Awake), sons of the kingdom’’; ‘Arise, 
ye heirs of glory.” 

The melody was first published in the Eisleben 
Gesangbuch, 1598, and in the New Catechismus 
Gesangbiichlein, published in Hamburg in the same 
year. It is set for the hymn, “Aus meines Herzens 
Grunde,” ‘“‘Jeg vil din Pris udsjunge,” ‘‘My heart 
its incense burning’ (Landst. 606, L. H. 542). 
(Notes on Rist may be found under No. 148.) 


286 





163 


I place myself in Jesus’ hands. 
Et trofast Hjerte, Herre min.—Landst. 119. 
Ich ste” in meines Herren Hand. 


—C. J. P. SPITTA. 
I PLACE myself in Jesus’ hands” was published 


in the author’s Psalter und Harfe, Pirna, 
1833. (Notes on Spitta may be found under No. 
80.) The translation is by R. Massie (see notes 
under 29). 

The melody has been referred to M. Praetorius, 
ca. 1610, and has been used for the hymn, “Es geh, 
wies woll auf dieser Erd,” “Et trofast Hjerte, Her- 
reimin’))( Landst, t19). 

Michael Praetorius was born February 15, 1571, 
in Kreuzberg, Thiiringen. He began his musical 
career as “‘kapellmeister’’ of Lineburg. In 1604 
he was called into the service of the Duke of Bruns- 
wick, first as organist, later as “‘kapellmeister’’ and 
secretary. He was appointed prior of the cloister 
of Ringelheim, but was not required to take up his 
residence there. Praetorius died in Wolfenbittel 
upon his fiftieth birthday, February 15, 1621. He 
had become famous as composer of church music, 
among which should be mentioned the mammoth 
edition of over twelve hundred songs. He is also 
noted for various writings, among which the great 
Syntagma musica still furnishes much valuable 
source-material. He ranks high as a writer and 
also as a composer of church melodies. 


287 


164. 


Hark! a thrilling voice is sounding. 
V ox clara ecce intonat. 
—FROM THE LATIN. 


HAk! a thrilling voice in sounding,” is a very 
old hymn, possibly from the fifth century. 
It has been ascribed to Ambrose, but not, however, 
by the Benedictine writers. It is found in manu- 
scripts from the eleventh century in the British 
Museum and in Cambridge. The hymnologist, G. 
M. Dreves, has printed one from the tenth century. 
This hymn is based upon Rom. 13:11 and Luke 
21:25. ‘The hymn has appeared in two versions. 
In the Roman Breviary of 1632 the original text 
is revised and begins: ‘‘En clara vox redarguit.” 
Our translation, by E. Caswall, in Lyra Catholica, 
1849, is based upon this latter version. ‘This trans- 
lation is found in a large number of hymn books 
in England and America. ‘There are twenty-four 
English translations in all. The melody (Arundel), 
by John B. Dykes, was composed in 1857. 


165 


Christians, prayer may well employ you. 
Riistet euch, thr Christenleute. 
—W. E. ARENDs. 


ONCERNING spiritual struggle and vic- 
tory.” 

This hymn was first printed in Freylinghausen’s 
Gesangbuch, 1714. The English translation was 
rendered by J. M. Sloan, 1865. (For notes on the 
melody see No. 80.) 


288 


Wilhelm Erasmus Arends was born February 5, 
1677, in Langenstein. In 1707 he became pastor of 
Crottorf, near Halberstadt, and in 1718 was ap- 
pointed to the Church of St. Peter and St. Paul 
in Halberstadt, where, however, his service was cut 
short by death in 1721. He also wrote two other 
hymns, which were published in Freylinghausen’s 
book mentioned above. 

John Morrison Sloan (born in Scotland, 1835) 
was educated in Glasgow, Edinburgh, and Erlangen. 
Sloan has translated a number of hymns from the 
German. 


166 
Lo, He comes with clouds descending. 
—C. WESLEY. 


ets hymn has come to us in three different 
versions. The oldest is by John Cennick, a 
preacher and hymn writer (see No. 450). ‘This 
begins: ‘‘Lo, He cometh, countless trumpets, blow 
before His bloody sign.” ‘This has six verses. The 
second version is that by C. Wesley, and this was 
first printed, 1758, in Hymns of Intercession for 
all Mankind, a tract consisting of forty hymns. The 
third version is a cento consisting of six verses by 
M. Madan in his Psalms and Hymns, 1760. This 
is a combination of Wesley’s and Cennick’s versions 
with a few changes. Verses 1, 2, and 4 are by 
Wesley, with the exception of a couple of changes 
in the first and the last verse. ‘The third verse is 
by Cennick, following Madan’s redaction. ‘The 
Cennick-Wesleyan hymn of Madan’s version has 
gained great favor in all English-speaking countries. 


289 





167 


The only Son from heaven. 
Gud Faders Sén enbaarne.—Landst. 100. 
Herr Christ, der einig Gottes Sohn. 
—ELISABET CREUTZIGER. 


‘THs is the first Lutheran hymn written by a 
woman. It has been characterized as a sublime 
evangelical hymn. Rudelbach calls it a “highly 
poetic Jesus hymn.”’ It was printed in the first Lu- 
theran hymnbooks, such as Erfurter Enchiridion, 
1524, and Geistliche Lieder, Wittenberg, 1531. In 
the latter edition it has the following title: Ein 
geistlich liedt von Christo, Elisabet Creutzigerin; 
and it was very likely printed under that same title 
in the lost edition of Klug’s Gesangbuch, Witten- 
berg, 1529. There has been some doubt as to the 
authorship, principally for the reason that the 
woman referred to was hardly twenty years of age 
at the time the hymn was first printed. The hymn 
has also been ascribed to Andreas Knopken, but for 
no good reason. ‘The hymn, with her name at- 
tached, would not have been printed in contempo- 
rary Lutheran hymnals unless she had actually 
written it. Of the seven or eight English transla- 
tions The Lutheran Hymnary has adopted A. T. 
Russell’s, with a few slight changes. The first 
Danish translation is found in the first edition of 
Klaus Mortens¢n’s Salmebog, 1528. 

The melody is as old as the hymn, if not older. 
It is found in the Erfurter Enchiridion of 1524 and 
was arranged for four-part chorus in Johann Wal- 
ther’s Hymn Book of the same year. 


290 


Elisabet Creutziger (von Moseritz) was a 
daughter of a Polish nobleman. During the perse- 
cutions, the family came to Wittenberg, where the 
young woman was married to Kaspar Creutziger, a 
student at the university and one of Luther’s most 
devoted pupils. Shortly after, he became minister 
and teacher in Magdeburg and later, 1528, pro- 
fessor of theology in Wittenberg. Elisabet Creut- 
ziger, who was a friend of Luther’s wife, is men- 
tioned as a woman of rare musical gifts and a model 
wife and mother. 


168 


Hail to the Lord’s Anointed. 
—J. MONTGOMERY. 


‘THIS hymn was written in 1821 for a Christmas 

program and was sung as a part of a Christ- 
mas ode in the congregation of the Moravian Breth- 
ren in England. In the month of February, 1822, 
the hymn was sent in manuscript to George Bennett, 
who at that time made a missionary journey to the 
South Sea Islands. In April of the same year 
James Montgomery delivered a lecture in the Wes- 
leyan chapel in Liverpool and closed his lecture by 
reciting this hymn. Dr. Adam Clarke, who was 
present on this occasion, was so impressed by this 
beautiful poem, that he asked for a copy and had it 
printed in his commentary upon the seventy-second 
Psalm. ‘The hymn has found a place in all the lead- 
ing hymnals of the English speaking world and has 
been rendered into many languages. This beautiful 
Messianic hymn is based upon Psalm 72 and is 
Montgomery’s best psalm-paraphrase. The original 


291 





has eight stanzas. The Lutheran Hymnary has 
omitted stanzas 3 and 5. (For notes on Montgom- 
ery and on the melody, see Nos. 65 and 8, respec- 
tively. ) 

169 


Jesus, Jesus, come to me. 
Jesu, kom dog selv til mig.—Landst. 117. 
Jesu, komm’ doch selbst zu mir. 
—J. SCHEFFLER. 


leas hymn, expressing the innermost longing of 
the soul for union with the Savior, was first 
printed in Scheffler’s Heilige Seelenlust, 1657. It 
appeared in nine verses under the title: ‘“The soul 
longs for Jesus alone.’’ Verses 4-6 are commonly 
omitted. There are eight English translations, of 
which three are in common use. (Notes on Schefl- 
ler may be found under No. 68.) The melody is 
by L. M. Lindeman. 


170 


Comfort, comfort ye my people. 
Trostet, trostet meine Lieben, 
—J. OLEARIUS. 


sake for John the Baptist’s Day, this 
hymn was printed in the author’s Geistliche 
Singe- Kunst, 1671, under the title Meditation upon 
the Text for the Day. The English translation is 
by Miss Winkworth. It was first published in her 
Chorale Book for England, 1863. (Concerning the 
melody, see No. 53.) 

Johannes Olearius was born September 17, 1611, 
in Halle, where his father, Johann Olearius, was 


fabs Be 


preacher and superintendent. He received his edu- 
cation in Wittenberg, where he took his master’s 
degree in 1632 and the degree of doctor of theology 
in 1643. While still a young man he gave lectures 
at the university, and in 1635 was appointed adjunct 
of the philosophical faculty. In 1637 Olearius was 
made superintendent of Querfurt, and in 1643 was 
appointed to the position of first court preacher and 
private chaplain in the service of Duke August of 
Sachsen-Weissenfels, in Halle, where, later on, he 
became member of the church council and superin- 
tendent. When Duke August died, in 1680, the 
Elector of Brandenburg appointed Olearius super- 
intendent of Weissenfels, where he remained until 
his death, in 1684. 

Olearius was a productive hymn writer. He col- 
lected and edited one of the largest hymn books of 
the 17th century. His Geistliche Singe-Kunst, of 
which the first edition appeared in Leipzig, 1671, 
contained 1207 (1218) hymns. Of these, 302 were 
composed by Olearius. ‘The second edition, pub- 
lished in 1672, contained 1340 hymns. His own 
hymns are as a rule short, and are written in clear 
and simple language. Many of his hymns have 
been translated into English and other languages. 





171 


Savior of sinners, now revive us. 
Bryd frem, mit Hjertes Trang at lindre. 
—Landst. 118. 
Erquicke mich, du Heil der Siinder. 
—lL. A. GoTTER. 


‘THis hymn is a translation of stanzas 1, 2, 5, 

10, of Gotter’s original consisting of 10 stanzas 
(see Landst. 118). ‘The stanzas rendered here are 
based upon Matt. 11:5. The complete version 
found in Landstad’s Hymnal has Scripture refer- 
ences as follows: 6, Exodus 21:5, 6; 7, Hebr. 12: 
12, 13; 8, Jerem. 17:14. The hymn appeared first 
in Freylinghausen’s Gesangbuch, 1714. Our Eng- 
lish translation was made by Miss Jane Borthwick 
in 1864. H. A. Brorson prepared the Danish ren- 
dering. The melody was composed by L. M. Lin- 
deman. 

Ludwig Andreas Gotter was born May 26, 1661, 
in Gotha, where his father was chief court preacher 
and superintendent. He became secretary and later 
court counsel in Gotha, where he died September 
19, 1735. Gotter is described as a pious, humble, 
but brilliant man of the school of Spener. ‘Twenty- 
three of his 231 hymns were included in the hymnals 
published by Freylinghausen. Seven have been 
translated into English. 


294 


172 


O come, O come, Immanuel. 
Veni, vent, Emmanuel. Re 
—LATIN. 


‘THis hymn is a versification of five different anti- 
phones, and the sfanzas were printed in Neale’s 
Hymni Ecclesiae, 1851. ‘The source material was 
not mentioned. Later it has been found in a sup- 
plement to Psalteriolum Cantionum Catholicorum, 
dating from 1710. A translation by Neale was pub- 
lished in Mediaeval Hymns. ‘This rendering was 
included in Hymns Noted, 1854. ‘There are several 
English revisions and one in the German: ‘Nun 
sende, Herr, uns deinen Sohn,” found in a Trier 
hymn book, from 1846-1847. A note in this volume 
states that this hymn dates from a Munchen hym- 
nary published in 1586. 
The melody was written by D(e)mitri Stepano- 
wich Bortnianski (1751-1825). He studied music 


under Galuppi of St. Petersburg. Later he con- 


tinued his studies in Venice. He served as conduc- 
tor of the imperial choir of St. Petersburg and ex- 
erted a powerful influence upon church music in 
Russia. 


173 


When sinners see their lost condition. 
Naar Synderen ret ser sin Vaade.—Landst. 124. 
—M. B. LAnpsrap. 
THs hymn was first printed in 1863, in Salmer 
og Sange til Brug ved Missions-m¢der og Mis- 
sionfeste, compiled by M. B. Landstad. Its Bib- 


3 


Pip bo 





lical basis follows: Stanza 2, John 20:19-26; 5, 
Saline eo hela Rev. 320" oynGen. 243) © Ochs. 
9:2. he religious fervor and depth of feeling 
characterizing this hymn make it one of the best 
hymns from this composer. It is claimed that the 
melody was composed by Johan David Meier, 1692. 
The music for our edition in The Lutheran Hym- 
nary has been arranged by J. Dahle. 


174, 


Creator of the starry height. 
Conditor alme siderum. 


(UR OE has been mentioned as the author, 

but the Benedictine writers and other recog- 
nized investigators do not list this hymn among the 
hymns ascribed to Ambrose. ‘The oldest manu- 
scripts, of Bern and Munchen, date from the ninth 
and tenth centuries. In England there are several 
manuscripts from the eleventh century. A revised 
version of the hymn is found in the Roman Breviary 
of 1632. ‘‘Creator of the starry height” has been 
extensively used as an evening hymn during Advent. 
There are as many as twenty-seven English versions. 
It was rendered into German during the twelfth 
century. In 1524 a revised German version was 
included in the Deutsche Euangelische Messe, and 
in this form it was taken up in several German 
hymnals. A Danish translation was published in 
Hans Tauson’s Salmebog, 1553; ‘“‘O Stierners Ska- 
bere i Hiemmelske Huss.” A revised version of 
this appeared successively in Thomiss¢n’s, Kingo’s, 
and Pontoppidan’s hymn books. Grundtvig, in 


296 


1836-1837, gave a new rendering, “‘Stjernernes Ska- 
ber og Himmelens Drot.” 


L175 


Hark, the glad sound! the Savior comes. 
_  -— PHILIP DODDRIDGE. 


HE hath sent me to bind up the broken-hearted, 
to proclaim liberty to captives” (Luke 4:18; 
Ts.61 21). 

‘“Flark, the glad sound! the Savior comes,” was 
written in 1735 and published for the first time in 
a Scotch hymnal, 1745. ‘The original contains seven 
stanzas. In The Lutheran Hymunary stanzas 2, 4, 
and 6 are omitted. In the Scottish Church a revised 
edition of this hymn has been in extensive use for 
over one hundred years. ‘Ten years after its publi- 
cation in Scotland the hymn was published in Eng- 
land in Job Orton’s edition of Hymns of Doddridge, 
1755, where the hymn is printed in its original form. 
Later it has been taken up into all the leading 
English hymnaries and has been translated into 
many languages. A Latin version has been ren- 
dered by R. Bingham. Lord Selborne says concern- 
ing this hymn: “In the whole treasury of church 
hymns we have none more beautiful, none more 
powerful and more perfect in form than the spirit- 
ual songs by Philip Doddridge.”’ 

The following are the stanzas which have been 
omitted from The Lutheran Hymnary: 


2. On Him the Spirit, largely poured, 
Exerts its sacred frre, 
Wisdom and might and zeal and love 
His holy breast inspire. 


297 





4. He comes from thickest films of vice 
To clear the mental ray, 
And on the eye-balls of the blind 
Lo pour celestial day. 


6. His silver trumpets publish loud 
The jub’lee of the Lord, 
Our debts are all remitted now, 
Our heritage restored. 


The melody (St. Magnus or Nottingham) was 
written by Jeremiah Clarke, an English musician 
(1669°-1707). He was for some time organist 
of St. Paul’s Cathedral, London, and collaborated 
with William Croft and Daniel Purcell. 


176 


On Jordan’s bank the herald’s cry. 
Jordanis oras praevia. 
—C. COFFIN. 


|p dale voice of one crying in the wilderness, - 
Prepare ye the way of the Lord; make His 
paths straight”? (Matt. 3:3; Is. 40:3). 

This Advent hymn appeared first in the author’s 
Hymni Sacri, 1736, and was included in the Paris 
Breviary of the same year and was later taken up 
in many French breviaries. John Chandler’s popu- 
lar English translation appears in our hymnary in 
a slightly revised form. 

Charles Coffin, born 1676 in Buzanzy (Arden- 
nes), became superintendent of Beauvais College 
in 1712, and rector of the University of Paris in 
1718. In 1727 he published a few Latin poems and 
in 1736 his hymns were printed in the Paris Brevi- 


298 


ary. During the same year they were published in 
a separate edition under the title: Hymni Sacri 
Auctore Carolo Coffin. His complete poems were 
published in two volumes in 1755. Coffin’s hymns 
are characterized as being “direct and filled with 
the spirit of grace.” 

_ The melody (Alstone) is by Christofer Edwin 
Willing, born 1830, died 1904; member of the 
choir of Westminster Abbey, organist and director 
of the Covent Garden Opera. He edited The Book 
of Common Praise, 1886. 


dbyey 


All my heart this night rejoices. 
Frohlich soll mein Herze springen. 
—PAUL GERHARDT. 


HIS beautiful Christmas hymn appeared first 
in Criiger’s Praxis pietatis melica, 1656. The 
original contains fifteen stanzas, so that only a small 
portion of them have come to us in English transla- 
tion. But the translator, Miss Winkworth, has cer- 
tainly grasped the central thought of this hymn, and 
it is to be regretted that this Christmas hymn with 
Ebeling’s beautiful melody is not more extensively 
used among us. The Ev. Luth. Hymnbook of the 
Missouri Synod contains all fifteen stanzas in good 
English translation. Likewise, the whole hymn, 
translated by Dr. Matthias Loy, is found in the 
Ev. Luth. Hymnal of the Ohio Synod. (Notes on 
Gerhardt may be found under No. 157.) 
Both Johann Cruger and Johann Ebeling have 
each written a melody which is used for this hymn, 
but both of these melodies were originally composed 


299 





for Gerhardt’s hymn, “Warum sollt ich mich denn 
gramen.” ‘Why, my soul, thus trembling ever” 
(L. H. 342). 

Johann Georg Ebeling, born July, 1637, in 
Luneburg, became (1662) Johann Critger’s suc- 
cessor as cantor of the St. Nicholas Church in Ber- 
lin, where Paul Gerhardt at that time was minister. 
From 1868 Ebeling was professor of music at the 
Caroline-Gymnasium in Stettin, where he died in 
1676, the year of Paul Gerhardt’s death. Among 
Ebeling’s works may be mentioned Pauli Gerhardi 
Geistliche Andachten, 1666-1667. 


178 


Holy night, peaceful night. 
Glade Jul, deilige Jul.—Landst. 137. 
Stille Nacht! Heilige Nacht! 
—JosEPH Morr. 


H°t* night, peaceful night,” one of our most 
popular Christmas hymns, was written for 
the Christmas festival 1818, while Mohr was as- 
sistant pastor of Laufen, near Salzburg. The mu- 
sic was composed by Franz Gruber, a teacher in 
the neighboring town of Arnsdorf. The hymn has 
been translated into many languages and is exten- 
sively used in all Christian lands. There are twelve 
English translations. 

Joseph Mohr was born December 11, 1792, in 
Salzburg, Austria. He was ordained to the minis- 
try in the Roman Catholic Church August 21, 1815, 
by the Bishop of Salzburg. He served in various 
places in this bishopric until his death, December 
4, 1848. Franz Gruber, born November 25, 1787, 


300 


in Hochburg, near Linz, and died in 1863, as or- 
ganist of Hallein, near Salzburg. 


179 
Thy little ones, dear Lord, are we. 
Her kommer dine arme smaa.—LANDsT. 130. 
—H. A. Brorson. 


AVE ye never read, Que of the mouth of 
babes and sucklings thou hast perfected 
praise?’ (Matt. 21:16). 

This is the last of Brorson’s Christmas hymns, 
which were published in 1732, in Tonder, under the 
following title: 4 Few Christian Hymns, to the 
Glory of God and for the Edification of Christian 
Souls, Especially My Beloved Congregation, for 
the Coming Joyous Christian Festival, in Haste 
and in All Simplicity Composed by H. A. B., 
Tundern, 1732. The title of this particular hymn 
is A Little Hymn for Children, together with the 
above-mentioned Scripture passage. 

Hans Adolf Brorson was born June 20, 1694, in 
Randrup, near Ribe and Té¢nder, and belonged to 
an old family of ministers. In 1709 he entered the 
Ribe Latin School, from which he was graduated 
three years later. In 1712 he took up his studies 
at the university of Copenhagen, where his interest 
seems to have centered more upon the humanistic 
sciences than upon theology. Besides theology he 
studied philology, history, and philosophy. But | 
the strain was too much for him. He was taken 
sick and had to go home in 1717, without taking 
the final examinations. For a while he remained 
with his brother Nils, who was pastor of Bedsted, 


301 





and later at his home in Randrup, where he assisted 
his step-father, the minister, Ole Holbek, in his 
duties, until he became family tutor in the home 
of District Superintendent Klausen of L¢gum- 
cloister. His stay at this place had a decisive influ- 
ence upon his life and gave direction to his efforts. 
From his parents, and especially from his pious and 
somewhat melancholy mother, he had received deep- 
toned religious impressions. At an early age he had 
been influenced by the spiritual awakening which 
especially proceeded from Halle; but it was not 
until the time of his quiet activity as a teacher that 
this spiritual tendency found an opportunity for 
development. In his loneliness he came, as he him- 
self relates, ‘into a more intimate union with God 
in Christ and, under many temptations, thru cease- 
less spiritual meditations, he tasted of the sweetness 
of the Gospel.’”’ He found rest especially in the 
religious philosophy of pietism. In Logum cloister 
he became acquainted with Klausen’s daughter, Ka- 
trine Steenbeck, who became his wife in 1722. 
After having passed the final examination in 
Copenhagen, October, 1721, he accepted a call from 
Randrup, his native city. These were the happiest 
years of his life and here he began to write his 
hymns. In 1729 he was appointed deacon of To6n- 
der in Schleswig, where he worked together with 
the hymn-writer and editor, Johan Herman Schra- 
der, who published The Hymn Book of Tonder. 
Here a curious condition obtained: Brorson preach- 
ed in Danish, but the congregation sang their hymns 
in German. ‘To remedy this, Brorson wrote a num- 
ber of Christmas hymns, 1732. Among these may 
be mentioned: “In this our happy Christmastide” 


302 


(L. H. 185; Landst. 134); ‘Mit Hyjerte altid van- 
ker’ (Landst. 143) ; “Den yndigste Rose er funden”’ 
(Landst:. 153); “Thy little ones, dear Lord, are 
we” (L. H. 179; Landst. 130). No one has writ- 
ten more beautiful Christmas hymns, as one biogra- 
pher writes: ‘‘No one has before or since sung in 
such a manner concerning Christmas.” 

From ‘Ténder he was appointed (without mak- 
ing application, indeed without his knowledge) to 
become district superintendent and minister of Ribe. 
When the bishopric of Ribe became vacant, in 1741, 
Brorson was appointed on the 5th of May of the 
same year, to fill this office. The story runs in the 
Brorson family that Christian VI once, in a conver- 
sation, asked Brorson whether he had composed 
the hymn, “Op al den Ting som Gud har gyjort” 
(Landst. 451), and upon receiving his answer gave 
him the promise of the bishopric. Since this is one 
of the first hymns published by Brorson, it seems 
unlikely that the king, several years later, should 
be uncertain as to its authorship. It is, however, 
quite reasonable to suppose that Brorson especially 
thru his hymns had gained the favor of the king, 
so that, as Pontoppidan related, Christian VI ‘‘of 
his own accord” appointed Brorson to the bishopric. 
Shortly afterwards his wife, at the age of thirty- 
six, gave birth to her thirteenth child, and both she 
and the child lost their lives. Brorson was so 
downhearted on this account that he was inclined 
to resign his office. In spite of his firm belief in the 
fatherly guidance of God, he suffered much from 
a melancholy spirit during his later years. He, 
however, gave up the idea of resigning, and on 
August 6, 1741, he was ordained to the bishopric 


303 





by Bishop Hersleb. In this office he labored with 
unflinching zeal until his death. On October 4, 
1746, Brorson delivered the sermon at the funeral 
of Christian VI. When King Fredrik V, in 1754, 
visited Ribe, he was received in the cathedral by 
the clergy of the town and all the provosts of the 
district. The school sang a cantata for which Bror- 
son had composed the text. In connection with the 
festival of 1760 (commemorating the establish- 
ment of the monarchy), Brorson was created doctor 
of theology, October 18. But his end was near. 
Filled with a desire to depart and to be with the 
Lord, of which his “‘swan-song”’ so fervently testi- 
fies, he died June 17, 1764, following a short period 
of severe sickness. 

Bishop Brorson had many times been made the 
target for serious attacks and charges. Bishop 
Hersleb, his contemporary, especially, took occa- 
sion to attack him, when, in a report to the church 
council, he described Brorson as ‘‘a good man, but 
simple, and on account of weakness and hypochon- 
dria well nigh inefficient.” In order to prove the 
injustice of this judgment, one of Brorson’s suc- 
cessors, Bishop Daugaard, undertook a thoro in- 
vestigation of Brorson’s official acts. Daugaard 
came to the conclusion that Brorson ‘‘was as much 
a right-minded, zealous, and efficient bishop, as he 
was an excellent poet.’’ He says that in his official 
letters Brorson “proves himself to have been not 
only a mild, patient, and Christ-minded officer of 
the church, but also a man who in every respect 
was equal to his position, and who possessed the 
necessary knowledge, insight, and considerateness 
befitting a bishop and, at the same time, he was 


304 


endowed with a firm and determined character, so 
that he was not deterred by any fear of men or re- 
spect for persons from doing his duty, which is es- 
pecially evident from the severity with which he 
sought to keep unworthy and immature candidates 
away from the sacred office and to remove minis- 
ters and church servants who led improper lives. 
Such an attitude would not be looked for in the of- 
ficial who deserved to be called ‘simple and inefh- 
cient’ in his office, whether mention is made of a 
lack of the necessary qualifications for the office, or’ 
‘weakness and hypochondria’ be given as the reason 
therefor. It is indeed true that Brorson suffered 
many times from serious illness and often from at- 
tacks of hypochondria; but, nevertheless, he did not 
permit these to weaken his zeal for duty, and he 
never neglected his official work as long as he was 
able to care for it.”’ 

L. R. Tuxen says: ”Hersleb’s discrediting re- 
marks concerning Brorson are thus seen to be en- 
tirely unwarranted. It is clear that he did not know 
his worthy colleague, or at best, that he misjudged 
him, possibly blinded by ill-will against Brorson, 
who belonged to the pietistic school, while Hersleb 
himself was a member of the so called ‘orthodox 
party.’ In the before mentioned report to the 
church council, Bishop Hersleb states that fana- 
ticism, separatism, and Herrnhut’ism gained the 
upper hand, and that many complaints were re- 
ceived about the disturbances which the separa- 
tists created in the country, so that it was necessary 
that the higher officials of the church should be able 
to cope with the situation.” It is clear from this 
statement that Hersleb was an opponent of pietism. 


305 


Brorson’s daughter (by the second marriage) 
writes as follows: “He was an active and righteous 
oficial and possessed the gift of being able to com- 
bine sternness and mildness in an easy address, by 
which he gained general favor with old and young 
alike, so that wherever he had made his visitations 
the young people were willing and eager to have 
him catechise them. When he was well pleased with 
the conditions in a congregation he would often sing 
the stanza of the old hymn: ‘Jeg er nu glad og 
meget fro,’ (the last stanza of ‘Af Hoiheden op- 
runden er,’ old translation; Landst. 140; L. H. 
220). In social life his principal enjoyment was 
taking part in music and song, surrounded by his 
family and a circle of friends.” 

The greater number of Brorson’s hymns were 
written in Tonder, where he published eleven col- 
lections. ‘The first three are without date; No. 4, 
1732; No. 5, 1733; Nos. 6-9, 1734; Nos. 10-11, 
1735. All these together with several new hymns 
added appeared in 1739 under the title Troens rare 
Klenodie. Several enlarged editions were published 
in 1742, 1747, 1752, 1760, and these have been 
reprinted a number of times after Brorson’s death. 
The fourth edition, 1752, contains 274 hymns, of 
which 82 were original and 192 were translations. 
In 1765, one year after Brorson’s death, his son, 
Broder Brorson, published Hans Adolf Brorsons 
Svanesang, which contains 70 hymns composed dur- 
ing the last year of his life. Among these are found 
“Den store hvide Flok vi se’ (Landst. 559; Behold 
a host, arrayed in white, L. H. 492); “Her vil ties, 
her vil bies’” (Landst. 476); and ‘Naar mit Oie, 
trat af Moie” (Landst. 477). 


306 


In Danish literature Brorson blazed the way for 
thoughts and feelings couched in sincere and natural 
expressions without resorting to the ‘‘poetie para- 
phrasing’ which Kingo and his contemporaries 
were wont to employ. Brorson was a master of the 
Danish language and possessed a rich poetic talent. 
His hymns are perméated with deeply religious sin- 
cerity, combined with poetic loftiness and direct 
simplicity. On this account Brorson has been given 
a place among the most excellent hymn writers. 

L. R. Tuxen gives this estimate of Brorson’s 
work: ‘The first thing appealing to us is the deep 
piety and sincerity which permeate all of Brorson’s 
hymns. While Kingo is admired for his mighty 
strokes upon the harp, the pious souls felt a greater 
attraction for the tender, childlike, and sympathetic 
tone which is unique in Brorson’s hymns and es- 
pecially in his Christmas hymns (and not the least 
in the three above mentioned hymns of the ‘Svane- 
sang’). It almost resembles heavenly music; it is 
the soul, living and breathing in God and the 
Savior, which, here in earthly tones, gives expres- 
sion to its highest joys and its deepest anguish; 
even tho we can not entirely absolve him of the 
pietistic tendency to employ the symbols of a strain- 
ed imagination, whereby heavenly relations are 
often made to appear entirely too human. It is 
also true that at times Brorson is guilty of a some- 
what tiresome and complicated sentence building. 
Brorson’s hymns have been very kindly received in 
large circles, no doubt, because of the popular char- 
acter, which is a common trait of all his works. He 
does not soar into high-sounding tones; does not 
employ bombastic words, but his song moves on 


307 
thru simple, direct expressions, filled with deep, 
serious contents; the spirit of his hymns proceeds 
from his innermost soul, and therefore also finds a 
ready entrance into the heart; but in view of this 
popular element, we must all the more admire the 
poetic wealth and beauty which characterize these 
incomparable hymns of Brorson. In order to fully 
appreciate Brorson’s rich, poetic vein, we must em- 
phasize the fact that we find, in Brorson’s hymn 
collections, all the various types of hymns, all writ- 
ten by himself; types which we otherwise are in the 
habit of seeking in the combined writings of several 
composers. 

‘Tt can not be denied, however, that (as is the 
case in general with pietistic authors) Brorson also 
shows traces of the same overbearing spirit, which 
flings out a note of challenge to the world in such 
a manner that many of his hymns have a distinctly 
reprimanding and polemic character. Neither can 
we entirely absolve him of the common tendencies 
among the Pietists to make an immoderate use of 
phrases found in the Song of Solomon to indicate 
union with the Savior, whereby sensual images and 
carnal expressions are employed which do not serve 
to edify but rather to confuse the mind.” 

“Brorson has rendered about 200 translations. 
These have been prepared with such great pains- 
taking and ability that they not only equal the origi- 
nals, but in many cases even surpass them.” 


308 


180 
Immanuel, we sing Thy praise. 
Wir singen dir Immanuel. 
—PAUL GERHARDT. 


RUEGER’S Praxis Pietatis Melica, published 

in Berlin, 1653, contained this hymn of sixteen 
stanzas. In Ebeling’s edition of Gerhardt’s Geist- 
liche Andachten, 1667, four stanzas are added. 
The complete hymn of twenty verses is found in 
Wackernagel’s edition of Gerhardi’s Geistliche 
Lieder, and in several later editions. There are 
twelve English translations. Our version in The 
Lutheran Hymnary is by Miss Winkworth and 
dates from 1855. (Notes on Gerhardt may be 
found under No. 157). ‘The melody is taken from 
William Gardiner’s Sacred Melodies, 1815 (lst 
ed. 1812). Gardiner was an English musician 


Chor aOyL0 ad ML ooo y 
181 


From heaven above to earth I come. 
Fra Himlen hgit jeg kommer her.—Landst. 129. 
Vom Himmel hoch da komm ich her. 
—M. LuTHER. 
Vom Himmel hoch da komm ich her, 
ich bring euch gute newe Mar; 
der guten Mar bring ich so viel, 
davon ich singen und sagen will. 


(Ein Kinderlied auf die Weinachten, vom Kind- 
lein Jesu.) 


309 





From heaven above to earth I come 
To bear good news to every home; 
Glad tidings of great joy I bring, 
Whereof I now will say and sing. 


(A Christmas hymn of the Christ-Child, for 
Christmas Eve.) 


eee hymn is based upon the second chapter of 
the Gospel according to St. Luke. It is in- 
tended as a Christmas hymn for children (Kinder- 
lied). Luther here used as a pattern a folksong 
for children. He made use of the beginning of this, 
which may be seen from a comparison with the fol- 
lowing stanza. 


Ich kom aus fremden lande her 
und bring euch viel der neuen Mar; 
der neuen Mar bring ich so viel, 
mer dann ich euch hier sagen will. 


‘The first five stanzas contain the message of 
the angel; the two following lead us to the manger, 
to the Christ-child, and in the presence of the won- 
derful child are intoned in seven strophes greeting 
and praise, thanksgiving and prayer’ (Wacker- 
nagel). It was Luther’s custom to arrange a fes- 
tival for his family every Christmas Eve. Upon 
these occasions many a comforting word was sung 
and spoken, and for one of these festivals Luther 
composed this hymn for his children. The hymn 
appeared in print in 1535 and hence it was possibly 
written the previous year. The hymn soon gained 
universal favor and has become one of the most 
popular Christmas hymns. It has also been used 
at death beds. When the minister, Samuel Auer- 


310 


bach, of Schenkenberg, shortly before his death had 
received the Lord’s Supper, he folded his hands, 
and, with eyes uplifted towards heaven, he repeated 
the eighth stanza: 


Welcome to earth, Thou noble guest, 
Thru whom the sinful world is blest! 
Thou com’st to share our misery, 

What can we render, Lord, to Thee! 


‘““God’s eternal Son came down from heaven to 
the world and has shared our misery, as we sing in 
this hymn. Divers and pearl-fishers often go to the 
bottom of the sea to hunt for pearls; likewise miners 
often go many fathoms into the earth to dig for 
gold, silver, and other precious metals, because 
these things are counted of value among men. How 
highly must not then the human soul be prized in 
heaven, since the Lord Jesus Christ for our sakes 
did not spare Himself, but willingly humiliated 
Himself to such an extent and stepped down into 
this sea of human misery” (Chr. Scriver). The 
oldest Danish version of this hymn is by Hans Tau- 
son, Bishop of Ribe (d. 1561). (Notes on Luther 
may be found under No. 29.) 


182 
A great and mighty wonder. 
—ST. GERMANUS. 
St GERMANUS (634-734) was a Greek hymn 
writer and one of the most eminent defenders of 
image-worship. He was born in Constantinople 
and was a member of a noble family. He became 
Bishop of Cyzicus and later took part in the Synod 


311 


of Constantinople (712), which adopted a resolu- 
tion favoring Monothelitism (Monothelites, a sect 
which taught that Christ had two natures, but one 
will, the divine). But St. Germanus later condemned 
this doctrine. In 715 he was made patriarch of 
Constantinople. Despite vigorous opposition to the 
contrary, he was removed from this office in 730 by 
the iconoclastic emperor, Leo the Isaurian. Shortly 
afterwards he died at the age of 100 years. A 
number of his hymns have been translated into Eng- 
lish by Dr. J. M. Neale. Among these the present 
hymn was included in his Hymns of the Eastern 
Church, 1862. (Concerning the melody, see No. 
Bhat) 


183 
Rejoice, rejoice this happy morn. 
Os er idag en Frelser fgdt.—Landst. 136. 
—BIRGITTE C. BOYE. 


PAD thou, child, shalt be called the prophet 
of the Highest: For thou shalt go before 
the face of the Lord to prepare His ways; To give 
knowledge of salvation unto His people by the re- 
mission of their sins, Thru the tender mercy of our 
God; whereby the Dayspring from on high hath 
visited us, to give light to them that sit in darkness 
and in the shadow of death, to guide our feet into 
the way of peace” (Luke 1:76-79). 

The ‘“‘Dayspring from on high” (Solopgangen av 
det hgie) is Christ, the Sun of Righteousness and 
the Light of the World (Skaar). The hymn was 
first printed in Guldberg’s Hymn Book, 1778. The 
English translation is by Rev. C. Déving, 1911. 


o22 


Birgitte Katarine Boye was born March 7, 1742, 
in Gentofte, Denmark. Her father, Jens Johan- 
sen, was in the royal service. By his wife, née 
Dorotea Henriksdatter, he had seven children, of 
whom Birgitte was the oldest. ‘The children were 
given a thoro Christian education. At an early 
age Birgitte was betrothed to Herman Hertz, a 
hunter in the service of the king. When he later 
was appointed forester of the district of Vording- 
borg, they were married (1763) and moved to that 
place, and within five years Birgitte became the 
mother of four children. She employed all her 
spare time for diligent study, especially of the Ger- 
man, French, and English languages, with the result 
that she could read the poetic works of these na- 
tions in the original. She never paraded her knowl- 
edge, but always hid her books when visitors came 
into her home. 

In 1773 the Society for the Advancement of the 
Liberal Arts sent out a call soliciting contributions 
from every person ‘‘who had a desire and talent for 
writing sacred poetry.” ‘The purpose of this invi- 
tation became apparent later on. The plan was 
that, by this means, material might be gathered for 
a new hymn book which was to replace Kingo’s. 
Birgitte Hertz contributed twenty hymns, of which 
eighteen were subsequently included in Guldberg’s 
Hymnal. The office of forester was abolished by 
the government and Hertz with his family was 
placed in very pressing circumstances. His wife 
Birgitte appealed to Guldberg for help. ‘The mat- 
ter was laid before Prince Fredrik, who ordered 
that both her sons should be educated at his ex- 
pense. Following an illness of one year, her hus- 


SUS 


band died, and during the three years of her widow- 
hood she received her maintenance from Prince 
Fredrik. During this time she composed and trans- 
lated, upon Guldberg’s request, many hymns for the 
new hymn book, so that when the book appeared, 
in 1778, it contained 124 of her original hymns and 
24 translations. She was, indeed, a gifted hymn 
writer, and a number of her festival stanzas will 
always find a place in Danish and Norwegian church 
hymnals. But her hymns in many cases were in- 
fluenced by the spirit and style of Klopstock and 
Gellert. It was especially her hymns that gave 
Guldberg’s Hymn Book its characteristic style. 
There is a blending of elegant and prosaic expres- 
sions which does not appeal to our age. Welhaven 
says: “They sought to render in poetic language 
pompous and sublime expressions whereby they be- 
lieve that the pinnacle of poetic effort had been 
reached. ‘These songs should above all be ‘hymns.’ 
They sought to rend the church roof and to sing 
out into space. During this period, so unfavorable 
for sacred poetic art, the Harbo-Guldberg hymn col- 
lection was built up. “he new hymns may be recog- 
nized by their stilted style and their empty, high- 
sounding phrases, which are as contrary to the true 
spirit and essence of Christian devotion as they are 
out of harmony with the unpretentious simplicity of 
our chorale melodies.” In 1778 Birgitte Hertz 
married Hans Boye, an employe in the custom- 
house of Copenhagen. She survived also him and 
died October 17, 1824, 83 years of age. Birgitte 
Boye has also written two dramas, of which Gorm 
den Gamle is most extensively known. (For notes 
on the melody, see No. 220.) 


Ove 


184 


O Jesus Christ, all praise to Thee. 
Du lovet vare, Jesus Krist.—Landst. 133. 
Gelobet seist du, Jesu Christ. 
—M. LuTHER. 


O JESUS Christ, all praise to Thee,’ is based 
upon an old Latin sequence from the elev- 
enth century: 


1. Grates nunc omnes reddamus Domino Deo, 
Oui sua nativitate nos liberavit de diabolica 
potestate. 


2. Huic oportet ut canamus cum angelis semper 
Gloria in excelsis. 


It is found in a manuscript from the twelfth cen- 
tury in Munchen and also in the British Museum. 
It has been credited both to Gregory the Great and 
to Notker Balbulus. ‘The oldest German version 
is found in a manuscript dated 1370, in the Royal 
Library of Copenhagen. The German and Latin 
stanzas, however, have very little in common. This 
German sequence was extensively used in the Mid- 
dle Ages. To this old Christmas stanza Luther 
added six original stanzas, which to some extent 
resemble a Latin hymn by Fortunatus. It was 
printed in sheet form in Wittenberg and later in- 
cluded in the Erfurt Enchiridion, 1524. It ap- 
peared in Walther’s Hymn Book, which was pub- 
lished during the same year, and extensively used 
in the early Lutheran Church. This book furnishes 
the oldest source for the melody of this hymn. The 
melody is composed in the old Mixo-Lydian mode. 


315 





The first English translation was rendered by 
Bishop Miles Coverdale: ‘‘Now blessed be Thou, 
Christ Jesu,” 1539. ‘There are at least eleven Eng- 
lish versions. 


185 


In this our happy Christmas-tide. 
I denne séde Juletid.—Landst. 134. 
—H. A. Brorson. 


@ LORY to God in the Highest, and on earth 

peace, good will toward men” (Luke 2:14). 
Under the following title the hymn appeared in 
1732, as the last of 4 Few Christmas Hymns, etc. 
The seventh stanza was added in the edition of 
Troens rare Klenodie, 1739. The hymn was in- 
cluded in the hymna] of Pontoppidan, but not in the 
Evangelisk kristelige Psalmebog. Concerning this 
hymn Skaar says: “It may be regarded as the best 
of all hymns of Brorson. In times of great trial, 
when the songs of joy were blended with weeping 
and sighing, this hymn has given expression to the 
innermost feelings of the heart and it has likewise 
been sung as the hymn of triumph upon the death- 
bed. A pious woman found in this hymn great com- 
fort in the hour of death and passed thru her last 
struggle with these words upon her lips: ‘Now 
Christ is mine, I can depart to be with Him for 
ever” (seventh stanza). 

In his estimate of Brorson’s Christmas hymns, L. 
Maltesen says: ‘‘No one has before or since sung 
in such a manner concerning Christmas; and the 
Swedish hymnologist Soderberg refers to it as fol- 
lows: ‘‘Brorson excels especially as the Christmas- 


316 


psalmist, and some of his hymns to the nativity of 
Christ have virtually become folksongs.” Rudel- 
bacn expresses it in this manner: ‘‘Brorson’s Christ- 
mas hymns sound like heavenly music.” ‘They are 
permeated with deep sincerity and holy zeal. (Notes 
on Brorson may be found under No. 179.) Our 
English translation is by Rev. Carl Dgving, 1908. 
The melody dates from the 14th or 15th century 
and is found in connection with the hymn: ‘Dies 
est laetitiae’’ (Den signede Dag, som vi nu ser, 
Landst. 434 and 604; O day full of grace, which 
we behold, L. H. 379) in a manuscript from the 
15th century. The Danish-Norwegian redaction of 
the melody is an adaptation of the version found 
in Klug’s Geistliche Lieder, 1535. In the course 
of time it has undergone many changes, but they 
can scarcely be called improvements upon the 
original. The ancient form has much more of the 
characteristic of the true spiritual folksong. 


186 
Come, Thou Savior of our race. 
Kom, du Folkefrelser sand. 
Nun komm der Heiden Heiland. 
Veni Redemptor gentium. 
—AMBROSE. 
UGUSTINE says: “I feel that I am moved 
much more by the testimony of the word which 
is voiced in song than by that which is not sung: 
There is, therefore, a sort of mysterious relation- 
ship between the movements of the spirit and song.”’ 
This is one of the twelve hymns which the Bene- 
dictine writers ascribed to Ambrose. Augustine 


oe 





refers to this as one of the hymns of Ambrose, and 
Pope Coelestine expressly mentions the name of 
Ambrose at the Synod of Rome, 430. Likewise, 
Faustus in his Epistola ad gratium diaconum, ca. 
450, and also Cassiodorus (d. ca. 575) in his Com- 
mentary on the Psalms. The hymn is found in two 
Vatican manuscripts of the eighth century, besides in 
manuscripts as follows: Trier (ninth ;century) ; 
Bern and Munchen (tenth century); Cambridge 
and British Museum (eleventh century). It is also 
found in many hymnological works and in the brevi- 
aries of many nations. It is not found, however, 
in the Roman Breviary, due possibly to an exagger- 
ated ecclesiastic critical sense—snobbishness, which 
took offense at certain figurative expressions. ‘“The 
fourth stanza is based upon Psalm 19:6. David’s 
figure of the sun is applied by Ambrose to Christ” 
(Skaar). The hymnologist Dreves relates that the 
hymn originally began as follows: ‘“‘Intende qui 
regis Israel”; thus in manuscripts of the Vatican, 
Milan, and other old Italian editions. Outside of 
Italy this stanza is commonly omitted. ‘The Ger- 
man version of this hymn was rendered by Henrik 
von Laufenberg, a minister of Freiburg (d. 1445): 
‘Kum har, erloser volkes schar.”’ A version by an- 
other author of the fifteenth century reads as fol- 
lows: ‘‘Kom, erldser aller leute,’ and one from 
the beginning of the sixteenth century: ‘“Erlediger 
der volckher khum’’; and finally Luther’s version of 
1524: ‘Nun komm, der Heiden Heiland,” with 
the title, Der hymnus: Veni Redemptor gentium, 
etc. verdeutscht. 

Luther’s translation was printed in two editions 


318 


of the Erfurt Enchiridion and was taken up by other 
German hymnals and for a long time employed as 
an Advent hymn, but chiefly used as a Christmas 
hymn. Among the English translations we have 
eighteen renderings from the Latin text and ten 
translations from Luther’s German version. Of 
the latter, only one seems to be in common use, the 
version found in our Lutheran Hymnary rendered 
by W. M. Reynolds (1850) for the Church Book 
with Music of the General Synod. The fourth and 
sixth stanzas of the original are here omitted. A 
Latin revision of Ambrose’s hymn was made by 
Johann Campanus (1565-1622), rector of the Uni- 
versity of Prague. His version became popular and 
was rendered into German by Johann Franck: 
‘“Komm Heiden Heiland, Losegeld,”’ which was 
included in many German hymnals, among which 
may be mentioned Bunsen’s (somewhat changed). 
Of this version there are three English translations, 
of which one is by Miss Winkworth: ‘Redeemer 
of the nations, come.’ Luther’s ‘Nun komm der 
Heiden Heiland” was translated into Danish in 
1569, by Hans Thomissgn: ‘‘Kom, Hedninger- 
nes Frelser sand.” This was a very defective trans- 
lation, and Kingo in his first draft of the Winter- 
part rendered a new version: ‘Kom nu alle Folkes 
Tr¢st’”’; in later editions changed to ‘‘Kom, o Hed- 
ning-Frelser sand.’’ But in spite of the fact that 
these translations were a great improvement upon 
Thomissgns version, none of them were accepted by 
the committee which was given authority to compile 
Kingo’s Hymn Book. ‘The old version by Thomis- 
sgn was preferred. Landstad prepared a new trans- 
lation consisting of four stanzas for his hymnary. 


oo 


Ambrose’s hymn has been translated also into 
French, Portuguese, Low-German, Swedish, Ice- 
landic, and other languages. ‘‘ ‘Veni Redemptor 
gentium’ was possibly one of these hymns sung by 
the congregation in the church of Milan during the 
night vigils of the year 386. While the Arians de- 
nied the divinity of Christ, we have in this hymn 
a direct statement confessing Christ to be true God, 
born of the Father from eternity” (Skaar). 

It has not been definitely established that the 
melody for this hymn dates from the fourth century. 
It is possibly a German tune from the Middle Ages 
and was used by Johann Walther for Luther’s ver- 
sion of the Latin text. It was printed together with 
this hymn in the Geystliche Gesangk-Biichleyn and 
in the Erfurt Enchiridion, 1524. 


137 
Triumph, ye heavens! rejoice ye with high 
adoration! 
Synger for Herren og leger, I himmelske Hare. 
—Landst. 135. 


Jauchzet ihr Himmel! frohlocket thr englische 
Choren. 


—CG. TERSTEEGEN. 


PAD without controversy great is the mystery 
of godliness: God was manifest in the flesh, 
justified in the Spirit, seen of angels, preached unto 
the gentiles, believed on in the world, received up 
into glory” (I Tim. 3:16). These are the truths 
of which the poet sings in this hymn, published in 
Tersteegen’s Geistliches Blumengdrtlein, 1735. It 
is a beautiful Christmas hymn and bears the title: 


320 


The Tender Mercy of God, Revealed in the Birth 
of our Savior, Jesus Christ. The Norwegian trans- 
lation was made by M. B. Landstad. 


188 
While shepherds Ras cleg their flocks by night. 


—NAHUM TATE. 


F OR unto you is born this day in the city of 
David a Savior, which is Christ, the Lord” 
Cukerg ett), 

A Supplement to the New Version of the Psalms, 
1700 (1702), contained this hymn in a setting al- 
most identical with that found in our Lutheran 
Hymnary. This was one of the few hymns which 
were sung at the services during that period. It is 
found in almost all hymn books in the English 
speaking countries. It has been translated into 
many languages. There are several Latin versions. 
(For notes on the melody—Winchester Old—see 
No. 20.) 

Nahum Tate, son of Faithful Teate, D. D., was 
born in 1652, in Dublin, and received his education 
at ‘Trinity College in his native city. He was grad- 
uated in 1672. He was created poet laureate in 
1690. He died in London, August 12, 1715. Tate 
is best known for his Metrical Version of the Psalms 
of David, which he edited in conjunction with Dr. 
Nicholas Brady. This work, dedicated to William 
III, was authorized for use in the Episcopal Church, 
1696. The Whole of the Psalms, Fitted to the 
Tunes used in the Churches, was published in 1698. 
This was followed by The Supplement in 1700. All 
these hymns are by Tate, and among them is found 
also the above mentioned Christmas hymn. 


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